UC-NRLF 


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American  Dramatists  Series 


Pirbs;  of  a  Jf  eatfter 


WmasA  5.  (gaffncp 


American  Dramatists  Series 

BIRDS 
OF  A  FEATHER 

A  Play  in  Four  Acts 
THOMAS  J.  GAFFNEY 


BOSTON:  THE  GORHAM  PRESS 

TORONTO:  THE  COPP  CLARK  CO.,  LIMITED 


Copyright,  /p/5,  by  Thomas  J.  Gafney 


All  Rights  Rf served 


The  Gorham  Press,  Boston,  U.  S.  A. 


■^'^?h: 


CAST  OF  CHARACTERS 

Jimmie  Saunders 
Howard  Knowles 
Morris  Goldmann 
Officer  Flannagan 
Sam  Shaffer 
Rose  Noble 
Alice  Winslow 
Amy 


372217 


Digitized  by  tine  Internet  Archive 

in  2007  with  funding  from 

IVIicrosoft  Corporation 


http://www.archive.org/details/birdsoffeatherplOOgaffrich 


ACT  I 

Scene — Interior  of  Rose  Nohle^s  cabin,  Black 
Mountain,  Lake  George. 

ACT  II 

Scene — A   nicely  furnished  drawing-room  in    a 
flat  in  the  West  Forties,  New  York  City. 
Time — Three  years  after  the  first  act. 

ACT  III 

Scene — A  handsomely  furnished  room  in  a  side- 
street  hotel  in  the  Times  Square  district,  New  York. 
The  entire  place  has  an  atmosphere  of  the  theatre. 
There  are  several  trunks,  partially  packed,  around 
the  room.  There  is  a  ''^  Three  Sheet'*'*  on  the  hack 
wall  showing  a  figure  in  Oriental  costume,  and  posed 
as  for  dancing.  Photographs  of  celebrities  of  the 
theatrical  world  adorn  the  mantelpiece  and  walls. 

Time — Three  years  after  the  second  act. 


ACT  IV 

Scene — A  poorly  furnished  room  in  a  tenement 
house  on  Rivington  Street^  New  York  City.  The 
walls  are  bare,  the  furniture  old,  but  everything  has 
an  air  of  cleanliness.  There  is  a  screen  in  one 
corner  of  the  room  hiding  a  bed.  A  windozv  up 
stage  looks  out  on  a  dimly-lighted  air  shaft.  A 
sewing  machine  is  placed  in  front  of  window  so  as  to 
get  the  fast-fading  light.  The  room  is  lighted  by 
means  of  a  lamp,  which,  as  the  curtain  goes  up,  is 
discovered  on  table,  down  stage. 

Time — Same  as  the  preceding  act. 


BIRDS  OF  A  FEATHER 


ACT  I 


Scene — Interior  of  Rose  Noble^s  cabin,  Black 
Mountain,  Lake  George. 

The  place  is  roughly  furnished,  yet  homelike, 
giving  the  appearance  of  a  woman's  hand  in  its 
decorations.  There  is  a  folding  bed  on  one  side  of 
the  room.  A  hugh  fireplace  on  the  other  side. 
Tables,  rough  wooden  chairs,  bearskin  on  floor. 
The  door  leading  to  the  outside  is  closed,  but  the 
window  is  open  a  little  bit  from  the  bottom. 

At  Rise — The  stage  is  empty.  The  fire  in  the 
fireplace  has  a  red  glow,  as  though  waiting  to  be 
replenished. 

After  the  curtain  has  been  up  for  a  moment  there 
is  a  sound  of  distant  shots.  Another  pause.  Then 
breaking  branches  are  heard  from  without.  Another 
pause.  Then  some  one  is  heard  running,  and  the 
door  is  tried  from  the  outside.  It  does  not  open, 
and  after  a  second  or  two,  a  head  is  seen  looking 
through  the  window.  After  seeing  that  no  one  is 
7 


8  BIRDS  OF  A  FEATHER 

within,  a  man  raises  the  window  cautiously  and 
enters,  closing  the  window  after  him.  There  are 
more  shots,  a  little  bit  nearer  this  time.  The  man 
looks  around,  frightened.  He  is  holding  his  hand, 
which  is  bloody;  he  takes  his  handkerchief  from  his 
neck,  dips  it  in  the  water  pail  near  fireplace,  binds 
his  hand  up,  as  well  as  he  can. 

Rose  Noble  is  heard  talking  in  the  distance, 
but  gradually  coming  nearer. 

Rose — No,  Sam,  you  needn't  come  in. 

( The  man  inside  hears  this,  looks  quickly  around, 
grabs  pistol  from  his  pocket  and  hides  behind  cur- 
tains that  evidently  hide  a  bed,  up  stage. 

A  key  is  heard  in  the  lock,  and  after  a  moment. 
Rose  Noble  and  Sam  Shaffer  enter.) 

Rose — You  can't  stay,  you  know  that,  Sam. 

Sam — I  don't  want  to  stay.  Rose.  I've  got  to 
go  back  and  join  the  posse  that  a  lookin'  fer  that 
burglar. 

Rose — Whatever'd  you  leave  'em  for,  just  to 
bring  me  home.^  {Laughs.)  Gee,  anybody'd 
think  I  was  a  baby,  the  way  you  men  around  here 
look  after  me. 

Sam — Well,  we  do  kinder  look  on  ye  as  a  baby. 
Rose.  It  aint  very  nice  to  be  livin'  alone  up  here, 
as  you  do. 

Rose — Well,  Yd  rather  be  livin*  alone  here, 
raakin'  my  livin'  with  my  little  sewing,  than  I 


ACT  I  9 

would  to  be  livin*  roun'  the  neighbors'  houses, 
dependent  on  them  for  everything  I  get.  Vm 
independent  this  way. 

Sam — (Uneasily.)  Yes — I  know  you  are — 
darned  independent.  (Coming  closer  to  her.) 
Say,  Rose,  why  can't  you  care  for  me  a  little  bit? 

Rose — (Seriously.)  I  don't  know,  Sam,  why 
I  can't — I  jest  don't,  that's  all. 

Sam — You  know  I've  got  my  home  all  waitin' 
fer  you,  Rose — if  you'll  jest  say  the  word.  I 
don't  think  it's  right — or  safe — fer  ye  to  be 
livin'  like  this. 

Rose — Pshaw!  You  needn't  be  aferred  o'  me. 
I've  lived  here  ever  since  grandpop  died,  an' 
nothin's  hurt  me  yet. 

Sam — Yes,  I  know  that  nothin's  hurt  you — yet. 
What  I'm  afraid  of  is,  that  somethin'  will.  You 
know,  ever  since  these  summer  boarders  been 
comin'  'round  here — well,  you  never  can  tell 
nothin'  'bout  them. 

Rose — Oh,  Sam,  you  make  me  tired!  One  o' 
them  same  "summer  boarders,"  as  you  call  them, 
saved  me  from  that  bull  dog  last  week,  while  the 
rest  o'  you  all  stood  'round  lookin'  as  if  you  was 
scared  to  death.  (Looking  at  bandage  on  her  wrist.) 
Dr.  Smith  said  I  sure  did  have  a  close  call. 

Sam — Ever  seen  him  since."* 

Rose — No,  I  aint.      It's  funny,  too,  'cause  he 


10  BIRDS  OF  A  FEATHER 

said  he  was  goin'  to  stay  here  for  some  time  to 
come. 

Sam — Well,  I  guess  he  didn't.  No  one's  seen 
him  since  that  day.  (Thinking.)  Say,  it's  a 
funny  thing;  but  that  same  night  the  burglaries 
started  in  the  summer  cottages 

Rose — (Angrily.)  Now  look-a-here,  Sam  Shaf- 
fer— I  s'pose  you're  thinkin'  he  had  somethin'  to 
do  with  them. 

Sam — Well,  he  might  have. 

Rose — That's  foolishness.  Such  a  fine-lookin' 
feller  as  he  is!  Gee,  I  could  fall  in  love  with  a 
man  like  him,  'thought  no  trouble  at  all. 

Sam — Oh,  what  would  a  feller  of  his  class  want 
with  a  girl  of  yours .?  Then  ther's  that  other  one — 
the  feller  that's  always  a  runnin'  up  here  to  see 
you.     What's  he  want.^ 

Rose — Not  that's  any  of  your  business,  but 
just  to  show  you  I  could  have  a  lot  of  money  if  I 
wanted  it,  I'll  tell  you.  He  wants  I  should  sell 
the  place  to  him  for  a  summer  home.  He's 
offered  me  as  much  as  a  thousand  dollars  for  it — 
just  yesterday. 

Sam — Before  you  sell  the  place  to  him,  you'd 
better  let  lawyer  Oakford  look  him  up. 

Rose — (Softly.)  I  don't  want  no  one  to  look 
him  up. 

Sam — (Angrily.)  Has  he  ben  a  makin'  love  to  you  i* 


ACT  I  11 

Rose — If  he  has,  it's  none  of  your  business. 

Sam — Well,  I'll  make  it  my  business  if  he  don't 
let  you  alone. 

Rose — Why.?  I've  told  you  I  don't  love  you, 
an'  I'm  not  a'goin'  to. 

Sam — Well,  you  know  that  I  love  you.  Rose — 
I  have  loved  you  ever  since  you  an'  me  went  to 
school  together.  There  aint  no  one  else  to  look 
after  you  — 'ceptin'  the  folks  of  the  village,  an' 
you  bet  we're  a'goin'  to  do  it,  too. 

Rose — I  don't  want  no  lookin'  after — I've 
told  you  that  lots  of  times.  {Petulantly.)  I  guess 
you'd  better  be  a'gettin'  back  to  that  posse,  if 
you  want  to  catch  your  robber. 

Sam — All  right.  Rose — I'm  goin'.  {At  door,) 
But  Vm  goin'  t'  keep  on  lookin'  after  you  as  long 
as  you  live,  an'  don't  you  forget  it!  {Exit^ 
slamming  door  after  him.) 

{Rose  laughs  aloud.  She  throws  wood  on  the 
fire.  Takes  off  her  hat,  lights  lamp,  fills  kettle  from 
water  pail,  hangs  it  on  hook  in  fireplace,  closes 
window  and  starts  toward  curtains  covering  bed. 
As  she  nears  them,  the  Man  who  is  hidden  there, 
comes  from  behind  them,  covering  her  with  his  pistol. 
He  has  put  on  a  mask  while  hidden  behind  the 
curtains^ 

Man — Hands  up ' 


12  BIRDS  OF  A  FEATHER 

Rose  — {Gives  a  startled  scream.)  Oh!  {Looks 
toward  door  as  though  thinking  of  running  out.) 

Man — Pull  down  that  curtain.  {Indicating 
curtain  at  window.) 

Rose — {Does  so.)  Say,  you  needn't  scare  a 
feller  to  death.     Pm  only  a  girl,  unarmed. 

Man — YouVe  got  a  worse  weapon  than  my 
pistol — if  I'd  let  you  use  it. 

Rose— What.? 

Man — Your  voice  and  tongue. 

Rose — Gee,  you  must  be  a  brave  man — not 

No  wonder  you're  ashamed  of  yourself,  keeping 
your  face  covered  that  way. 

Man — Well,  I'm  not  exactly  proud  of  myself. 
Say,  what  would  you  do  for  any  one  who  had 
saved  your  life.? 

Rose — ^That's  a  funny  question.  If  I  had  the 
chance  I'd  save  their  life,  too. 

Man — You're  sure  of  that? 

Rose — Of  course  I  am.     Who  are  you,  anyway.? 

Man — Did  you  hear  those  shots  outside  a  while 
ago.? 

Rose — I  sure  did.  They  kept  me  a-waitin'  at 
the  foot  of  the  mountain  for  a  long  time  because 

they    said    the    robber    had {Breathlessly.) 

Say — you  aint  him,  are  ye.? 

Man — {Slowly.)     Yes,  I'm  him. 

Rose— {Frightened.)     Oh ! 


ACT  I  13 

Man — Well,  you  needn't  be  scared.  I  won't 
hurt  you —  not  if  you  do  nothing  to  let  them  know 
I'm  here. 

Rose — Take  off  your  mask. 

Man — What  for.? 

Rose — 'Cause,  there's  somethin'  about  you  I 
know,  but  I  can't  place  you.  I  want  to  see  your 
face.     {He  slowly  unfastens  mask.)     You! 

Man — Yes,  me  —  the  man  who  saved  you  from 
that  dog  last  week. 

Rose — You're  the  burglar? 

Man — {With  a  grim  smile.)  I  am.  {Suddenly 
starts,  holding  hand.) 

Rose — Your  hand  is  bleeding. 

Man — Yes,  I'm  shot.  {Looking  around.)  I 
guess  I'm  treed. 

Rose — You're  not  treed  while  I'm  here. 
{Goes  to  window,  looks  out  cautiously.)  Nobody 
out  there.  Guess  they've  lost  you.  {Taking  his 
hand  and  unwrapping  handkerchief.)  It's  nothin' 
but  a  flesh  wound.  Now  —  {Going  behind  cur- 
tains to  bed)  don't  look  'round.     {Takes  off  skirt.) 

Man — All  right,  I  won't. 

Rose — {Tears  up  skirt  she  has  taken  off,  gets 
some  water  from  the  kettle  she  has  placed  upon  the 
fire;  washes  and  bandages  his  hand.)  Say,  mister, 
I'd  do  most  anything  for  you  after  what  you  done 
for  me. 


14  BIRDS  OF  A  FEATHER 

Man — Yes,  I  know,  little  girl. 

Rose — I  don't  know  what  to  call  you. 

Man — Neither  do  I.  Some  people  call  me — 
but  never  mind,  don't  call  me  anything. 

Rose — I'll  just  call  you  friend. 

Man — ^All  right,  little  girl.     Say,  you're  a  brick. 

Rose — Are  you  makin'  fun  of  me.? 

Man — Of  course  not — why.? 

Rose — Down  in  the  village  they  call  me 
"brick  top,"  'cause  my  hair's  red. 

Man — I  meant  you're  made  of  good  clay. 

Rose — {Finishing  binding  his  hand.)  There, 
is  that  all  right.? 

Man — It  sure  is. 

Rose — Why  does  a  man  like  you  steal  for  a 
living.?     You  know  it's  wrong. 

Man — When  I  see  something  I  want,  a  diamond 
necklace  or  a  string  of  pearls  — even  a  bag  of  pea- 
nuts —  something  dares  me  to  get  it.  The  game 
fascinates  me.  I  know  the  danger — shot — 
prison — and  all  that,  but  I  must  have  what  I've 
seen  and — I  usually  get  it.  When  I  do  get  it,  I 
don't  want  it  any  more;  but  I  love  the  life,  the 
excitement — the  danger.  I  can't  stop  it — I've 
tried,  but  it's  no  use.  I  must  steal,  steal,  steal! 
It's  in  my  blood. 

Rose — (Thoughtfully.)  I  wonder  if  I  couldn't 
help  to  make  you  better. 


ACT  I  15 

Man — (With  a  hitter  laugh.)  Don't  you  ever 
try  to  reform  a  criminal.     It  can't  be  done. 

Rose — I'd  like  to  try. 

Man — How } 

Rose — Well — by  thinking  of  you — by  your 
knowing  I  was  thinking  of  you.  Whenever  that 
feeling  to  steal  gets  too  strong  in  you  to  resist, 
you'd  think  a  little  bit  of  me — of  the  girl  whose 
life  you  saved — and  then,  perhaps,  you  wouldn't 
do  it. 

Man — Why,  I  tell  you,  nothing  on  earth  can 
stop  me.  Even  my  mother  couldn't  stop  me — 
and  I  loved  her  better  than  I  ever  loved  any  one 
else  on  this  earth. 

Rose  —  But  you  can't  help  me  thinking  of 
you. 

Man — No,  and  I'll  remember  you.  Are  you 
all  alone  here?  Haven't  you  any  one  to  protect 
you.^* 

Rose — Oh,  all  the  people  'round  here  guard  me. 
You  heard  Sam — what  he  said.f* 

Man — ^The  man  who  was  here  with  you  just 
now? 

Rose — Yes. 

Man — Yes,  I  did,  and  I  wondered  at  the  time 
why  you  wouldn't  do  what  he  asked  you  to  do. 
A  little  girl  like  you  needs  some  big  man  to  protect 
and  love  her.    Isn't  he  good  enough  for  you? 


16  BIRDS  OF  A  FEATHER 

Rose — He*s  got  a  heart  as  big  as  an  ox — but — 
but 

Man — ^But  you  don't  love  him,  is  that  it? 

Rose — No,  I  don't. 

Man — Well,  the  right  man  will  come,  some  day. 

(A  knock  on  the  outside  door.  The  Man  jumps 
up^  grabs  his  pistol^  looks  about  for  a  place  to  hide. 
Knock  is  repeated.) 

Alice  Winslow — {Outside.)  Open  the  door; 
let  me  in! 

Man — (Whispering.)     I  guess  I'm  trapped! 

Rose — {Whispering.)     I    guess    you're    not! 
{Going  to  folding  bed  and  opening  it.)     Here — get 
in  here  for  a  few  minutes.     It's  the  only  place 
there  is — now. 

Man — {Gets  inside  bed.)     Gee,  I  can't  see! 

Rose — You  don't  want  to  see.  I'll  see  for  you. 
{Closes  bed.) 

Alice — {Outside,  kicking  on  door.)  What's  the 
matter — open  the  door! 

Rose — {Going  to  door,  throws  it  open.)     Come  in. 

{Enter  Alice  Winslow.) 

Alice — Well,  you're  slow  enough  about  letting 
a  person  in. 

Rose — Why  shouldn't  I  be — I  didn't  know  the 
"person's"  voice — and  this  place  isn't  very  safe 
with  a  robber  outside  trying  to  get  away  from  a 
crowd  of  men. 


ACT  I  17 

Alice — {Laughs.)  Well,  for  Heaven's  sake! 
You  didn't  take  me  for  a  robber,  did  you? 

Rose — {Looking  at  her  suspiciously.)  Well — 
you  never  can  tell.  Are  you  one  of  the  summer 
boarders,  lost  on  the  mountain? 

Alice — I'm  a  summer  boarder  all  right,  but 
I'm  not  lost.     {Looking  around.) 

Rose — Then  what  on  earth  are  you  doing  up 
on  the  mountain  at  this  time  of  the  evening? 

Alice — I  wanted  to  see  you. 

Rose — See  me?     What  for? 

Alice — Oh,  for  several  reasons.  In  the  first 
place  {proudly),  I'm  an  actress! 

Rose — {Innocently.)  Oh,  one  of  them  ^'show 
folks"? 

Alice — {Smiles,)     Well,  yes,  that's  me. 

Rose — {Looking  at  her  admiringly.)  Gee!  I 
never  seen  one  before.  {Disappointed.)  Why, 
you're  almost  like  us  other  folks. 

Alice — Well,  what  did  you  expect?  Did 
you  think  we  had  horns? 

Rose — {Still  studying  her.)  Well,  I  didn't 
know.  My!  {Admiringly.)  You're  dressed  like 
a  peacock. 

Alice — Oh,  not  so's  you  could  notice  it.  I 
had  to  wear  out  my  last  season's  wardrobe,  and 
where'd  I  find  a  better  place  than  among  all  the 
"rubes"?     I'm  stopping  down  at   the   lake,    at 


18  BIRDS  OF  A  FEATHER 

one  of  the  hotels,  studying  a  new  part  for  the 
show.  I'm  going  to  play  a  "Merry  Little  Moun- 
tain Maid,"  and  I  came  up  here  to  get  the  at- 
mosphere for  the  character. 

Rose — {Innocently.)  You  can't  take  that  away, 
can  you  1 

Alice — ^Take  what  away.? 

Rose — The  atmosphere. 

Alice — {Looks  at  her  suspiciously.)  Say,  are 
you  "kidding"  me.**  {Rose  shakes  her  head.) 
Well,  all  right  then.  When  I  speak  of  getting 
the  "atmosphere,"  I  mean  studying  everything 
that  will  help  to  make  the  part  stand  out  when 
I  play  it. 

Rose — Well,  what  can  I  do  for  you.'' 

Alice — Oh,  you.?  Well,  you  can  let  me  study 
you,  too. 

Rose — What  good'll  that  do  you  ? 

Alice — Why,  don't  you  see.?  If  I  can  do  the 
things  on  the  stage  that  you  do  in  your  own 
home,  it  will  make  my  part  more  natural.  I 
heard  everybody  talking  about  you  ever  since 
I've  been  here,  and  I  wanted  to  see  you.  I've 
been  waiting  at  a  farmhouse,  down  the  road, 
almost  all  day,  just  to  get  a  glimpse  of  you,  and, 
when  you  didn't  show  up,  I  thought  the  best 
thing  I  could  do  would  be  to  come  up  and  see  you 
myself. 


ACT  I  19 

Rose — {Quietly.)  Is  that  all  you  wanted  to 
see  me  about? 

Alice — Well — you  see,  people  are  talking 
about  you 

Rose — {Quickly.)  Do  they  say  anything  wrong 
about  me? 

Alice — Why  should  they  ?     Have  you  enemies  ? 

Rose — I  don't  know.  Some  people  say  nasty 
things  because  I  live  here  alone. 

Alice — Yes,  Fve  heard  you  lived  here — alone. 
You've  lived  that  way  for  quite  a  long  time, 
haven't  you? 

Rose — For  the  past  two  years.  {Sadly.) 
Ever  since  grandpop  went  away. 

Alice — Where'd  he  go? 

Rose — ^About  one-half  mile  down  the  road, 
where  there  is  a  turn — and  a  little  wooden  cross. 
{Wipes  her  eyes  furtively.) 

Alice — Dead  ? 

Rose — Dead. 

Alice — {With  a  slight  shiver.)  Aren't  you 
afraid  to  be  here  all  alone — in  the  mountains? 

Rose — Why  should  I  be?  I  can  shoot  a  pistol 
'most  as  good  as  any  man.  If  you'd  hold  up  a 
nickel  between  your  fingers,  I'd  pop  it  out  every 
time.  Want  to  see  me?  {Takes  a  small  revolver 
from  fireplace  shelf.) 


20  BIRDS  OF  A  FEATHER 

Alice — Well,  hardly — I  didn*t  come  here  to 
be  a  target.  (Laughs.)  You  certainly  are  a 
unique  type.     No  wonder  he's 

Rose — No  wonder  "who's".? 

Alice — Oh,  nothing.  Say,  would  you  sell  the 
clothes  youVe  got  on.? 

Rose — (Astonished.)  What  for.?  Do  you  want 
me  to  go  naked.? 

Alice — Why,  no,  dear  child.  Til  give  you  five 
times  the  price  of  those  clothes. 

Rose — (Looking  down  at  clothes.)  Don't  they 
fit  all  right.? 

Alice — Yes,  pretty  well. 

Rose — Well,  then,  I'll  not  sell. 

Alice — Oh,  all  right.  (Looking  around  the 
room.)  Say,  you've  got  a  cozy  little  place  here, 
all  right,  all  right.  Where'd  you  get  all  the 
furnishings.? 

Rose — Oh,  they  was  grandpop's.  Some  of 
'em  he  had  a  long  time.  That  bed  is  the  newest 
thing. 

Alice — Oh,  that's  a  folding  bed,  isn't  it.?  I 
thought  it  was  a  bookcase. 

Rose — Yes,  most  people  who  see  it  think  that 
same  thing.  It  took  grandpop  two  whole  days 
to  get  it  up  the  mountain  from  the  hotel. 

Alice — How  on  earth  did  he  ever  come  to  buy 
that? 


ACT  I  21 

Rose— Oh,  he  didn't  buy  it.  They  gave  it  to 
him — in  fact,  paid  him  to  take  it. 

Alice — What  for.^ 

Rose — (In  a  matter-of-fact  tone.)     It  was  buggy. 

Alice — Dear  me.  {Edging  away  from  bed. 
As  her  back  is  turned^  an  ornament  falls  from  top  of 
bed.) 

Alice — {Startled — turns.)     What's  that.? 

Rose — {Also  startled^  looking  at  bed  apprehen- 
sively.) Oh,  that — that — oh,  that's  nothing. 
{Laughing  nervously.)  I — I  just  wanted  to  siiow 
you  a  trick. 

Alice — Well,  what's  the  trick.? 

Rose — I — I — can't  ever  do  the  same  one 
twice.     If  you  wait  a  while  I'll  show  you  another. 

Alice — {With  meaning.)  Oh,  I'll  wait  all  right. 

Rose — Now,  tell  me,  honestly,  what  you  came 
to  see  me  for. 

Alice — {Looking  at  her  keenly.)  Gee,  you're 
a  smart  one.  Well,  if  you  want  to  know,  I  came 
up  here  to  give  you  a  bit  of  advice. 

Rose — {On  her  guard.)     Advice.?     About  what.? 

Alice — {Bluntly.)     About — Howard  Knowles! 

Rose — {Startled.)  Oh!  {With  dignity.)  Well, 
what  about  him.? 

Alice — I  came  to  advise  you — for  your  own 
good — to  let  him  alone.  And  what's  more — to 
make  him  let  you  alone.     He's  coming  here  too 


22  BIRDS  OF  A  FEATHER 

much    altogether — for   your   good    and — well,    if 
you  must  know  it — mine. 

Rose — ^That's  his  business,  aint  it?     And  mine? 

Alice — Well,  I'm  going  to  make  it  mine,  too. 
What's  he  trying  to  do  with  you  ? 

Rose — (Indignantly.)  He's  been  talking  busi- 
ness to  me — that's  what! 

Alice — (Sneers.)     I'll  bet — fine  business! 

Rose — Well,  anyway,  it's  my  business — not 
yours.  I  like  Mr.  Knowles  and  I  don't  care  who 
knows  it.  ( The  bed  is  seen  to  shake ^  and  creaks  a 
little.     Neither  of  the  women  pay  any  attention  to  it.) 

ALiCE~(Jealous.)  Well,  /  "like"  Mr.  Knowles, 
too,  and  I'm  not  going  to  have  any  snip  of  a 
country  gawk  coming  in  between  him  and  me 

Rose — (With  a  little  cry.)  What  do  you  mean  ? 
Why,  he  told  me 

Man — (From  inside  bed.)  Open  this  bed! 
ril  smother! 

Alice — (Screams.)  What's  that?  A  man's  voice! 

Rose — (Nervously.)     Oh,     that's     nothing — 
that's  just  another  trick  I'm  going  to  show  you. 

Man — (Inside  bed — struggles — bed  starts  to  come 
down.)  Hurry,  open  it  up.  I  can't  stand  it  any 
longer! 

Alice — (Watching  bed.)  Oh-ho!  I  guess  I 
understand  now  why  people  talk  about  you! 

(Bed  flies  open  and  Man  tujnbles  out.) 


ACT  I  23 

Alice — (With  cruel  laughter.)  A  man!  Well, 
well,  well!  Good-night,  my  sweet  little  mountain 
flower!  {Laughter.)  I  guess  there  isn't  much 
chance  of  me  losing  Howard,  after  all.  {Exits 
laughing.) 

Rose — {Bolting  door  after  her — goes  to  side  of 
Man,  who  is  brushing  dust  out  of  his  eyes.)  Did 
you  see  her? 

Man — No,  I  couldn't  see  anything.  {Scram- 
bling to  his  feet.)  I'll  have  to  get  out  of  here  right 
away.     She  saw  vie! 

{Shout  heard  quite  near  house  from  outside.) 

Man — My  God !  I've  got  to  get  away  from  here. 

Rose — {Putting  light  out,  then  going  to  window 
cautiously.)  You  can't — now.  There's  some  one 
comin'.   You  can't  get  out  of  here,  'ceptin'  one  way. 

Man — {Nervously.)     Which  way's  that.? 

Rose — {Tensely.)  That's  a  way  nobody  knows 
but   me.     My   grandpop   used   it   a   good   many 

years  ago — for  reasons {Pulls  bearskin  rug 

away  from  spot  on  floor.)  Those  boards  can  be 
removed.  There's  a  trapdoor  that  leads  through 
a  ravine  to  a  cave  that  overhangs  the  lake  nearly 
half  a  mile  below.  There  is  a  knotted  rope 
fastened  to  the  rock  and  concealed  by  the  vines. 
When  you  get  to  the  bottom,  take  any  one  of 
the  boats  you  find  there,  pull  the  staple,  row 
to  the  other  side  of  the   lake — and   you're   safe. 


24  BIRDS  OF  A  FEATHER 

Man — It's  my  only  chance — I've  got  to  hurry. 
{Removing  boards.)  I  don't  know  what  you're 
doing  this  for,  little  girl.  I  can't  understand  it. 
I  never  did  have  any  one  try  to  help  me  before 
in  all  my  life. 

Rose — I'm  doing  it — because  you  saved  my 
life — from  that  dog ! 

Man — {Has  removed  trapdoor — stands  in  trap, 
on  steps.)  Well,  all  I  can  say — now — is  God 
bless  you!  I'm  bad — I  always  will  be  bad,  I 
guess,  but  {drazving  notebook  from  pocket,  hastily 
writing  on  a  sheet  of  it  and  tearing  sheet  out — gives  it 
to  her)  — if  you  ever  need  a  friend,  no  matter  where 
you  are,  write  to  me,  and  if  I'm  alive,  and  out  of 
jail,  I'll  come.  {She  takes  paper,  tries  to  read.) 
Can't  you  make  it  out.^  {She  shakes  her  head.) 
Jimmie  Saunders,  23  Rivington  Street,  New 
York.  That's  what  it  says.  {Noise  of  horse  is 
heard  approaching.) 

Rose — {Goes  quickly  to  window,  looks  out.) 
Ssh!     Some  one's  coming!     Quick!     Go! 

Jimmie — {In  whisper.)  I'm  off.  I'm  mighty 
sorry  if  I've  got  you  into  any  trouble. 

Rose — {Anxiously.)  Oh,  hurry!  What  trouble 
could  you  get  me  into  "i 

Jimmie — {Amazed  at  her  ignorance  of  social 
customs?^  Oh — none,  I  guess.  {Knock  on  the 
door.) 


ACT  I  25 

Rose — Oh,  please  go.     You  must! 

JiMMiE — {As  he  disappears  through  trap.)  Re- 
member, Jimmie  Saunders,  Rivington   Street. 

(Rose,  as  he  disappears,  quickly  closes  trapdoor^ 
throwing  bearskin  over  it  again. 

Knowles — {Knocks  on  door  again.)  Open  the 
door.     It's  I,  Rose. 

Rose — {Kneels  with  her  ear  to  the  floor,  as  if 
listening,  to  see  whether  Jimmie  had  gone.)  All  right 
— -just  a  minute.  {When  she  is  satisfied  that  he 
has,  she  arises,  quickly  looks  about  room  to  see 
whether  any  signs  of  his  visit  remain,  then  goes  to 
door  and  throws  it  open.)  Come  in.  {Yawns.)  I 
was  pretty  tired,  and  so  I  layed  down  fer  a  little 
while.  {Yawns  again.)  Gee,  but  you  skeered 
me! 

Knowles — {Enters,  looks  about  suspiciously.) 
You  haven't  seen  that  burglar  they've  been  look- 
ing for,  have  you.^ 

Rose — I  aint  seen  nothing  that  even  looked 
like  a  burglar.     {Shyly.)     I'm — glad  to  see  you. 

Knowles — And  I'm  glad  to  see  you.  I  was  a 
little  bit  worried  about  you. 

Rose— Why.? 

Knowles — Well,  you  see,  after  the  robbery  at 
the  Sagamore  Hotel,  three  nights  ago,  when  a 
partner  of  one  of  the  dancers  stole  her  pearl  neck- 
lace, and  escaped,  we've  been  looking  for  him;  he 


26  BIRDS  OF  A  FEATHER 

stole  a  boat  from  the  landing  and  was  seen  heading 
this  way.  We've  been  chasing  him  hard  all  day — 
he's  here  on  this  mountain  somewhere — he  can't 
get  away.  WeVe  had  one  good  sight  at  him,  and 
one  of  the  men  took  a  shot  at  him. 

Rose — Shoo!     It  must  ha'  been  a  deer. 

Knowles — Don't  you  think  we  can  tell  a  man 
from  a  deer.^ 

Rose — (Simply.)  Not  if  you're  city  folks. 
"Deer"  are  shot  here  every  year,  and  afterwards 
turn  out  to  be  men. 

Knowles — Well,  that's  so.  (Smiles — comes 
closer  to  her.)  You  know  (softly,  ingratiatingly) — 
this  is  the  night  you  were  going  to  give  me  your 
answer. 

Rose — (Hanging  her  head  a  little.)  Yes,  I 
know  I  was.  (Suddenly.)  Do  you  really  want 
me  to  go  away  with  you  —  away  off  to  the  big 
city  —  really  want  me  to  marry  you ? 

Knowles — Why,  of  course  I  do. 

Rose — (Shaking  her  head.)  Honestly,  I  don't 
see  why.  There  you  have  all  of  them  beautiful 
women  down  to  the  hotel — and  yet  you  fall  in 
love  with  me.  Oh,  I  just  can't  understand  it 
nohow. 

Knowles — (Placing  his  arm  around  her.)  Why, 
it's  simple  enough,  none  of  them  are  half  as 
beautiful  as  you  are,  nor  half  as  good. 


ACT  I  27 

Rose — Yes,  but  another  thing  I  can't  under- 
stand is  why  you  don't  want  to  marry  me  right 

here  where  all    my   friends    are {Wistfully.) 

You — you  aint  ashamed  of  me,  are  you? 

Knowles — Of  course  I'm  not  ashamed  of  you. 
You  see,  it's  like  this.  I  simply  can't  let  people — 
my  people — know  that  I'm  married  for  three 
whole  years;  if  I  do,  I  lose  all  chance  of  the  money 
that  was  left  to  me,  providing  I  didn't  marry  until 
I  was  thirty-five  years  old. 

Rose — {Startled.)  Three  whole  years  .^  Oh! 
Have  we  got  to  wait  that  long? 

Knowles — {Laughs.)  Of  course  not,  little 
foolish!  We'll  be  married  right  away,  but  we'll 
keep  it  secret  for  that  length  of  time. 

Rose — {Looking  doubtful.)     Oh h! 

Knowles — Why,  you  trust  me,  don't  you? 

Rose — {Throwing  her  arms  about  his  neck.) 
Of  course  I  trust  you — you  can't  doubt  that. 

Knowles — All  right,  then.     You'll  go  to-night? 

Rose — Oh,  not  to-night — surely.  You  won't 
want  me  to  go  without  saying  good-bye  to  any- 
body^ will  you  ? 

Knowles — {Sofily.)     It's  best,  little  girl. 

Rose — {Looking  about  the  room,  sadly.)  All 
right.     Just  as  you  say. 

Knowles — Now,  tell  me,  did  you  get  that  pail 


28  BIRDS  OF  A  FEATHER 

of  water  for  me — you  know,  the  funny-smelling 
water  from  the  secret  well? 

Rose — Of  course  I  did,  but  I  can't  see  what  you 
want  with  it.  Grandpop  told  me  never  to  tell 
anybody  where  that  well  was,  cause  if  I  did,  it 
would  bring  nothing  but  misery  to  everybody 
connected  with  it. 

Knowles — Well,  you  don't  have  to  tell  even 
me  where  it  is  located.  I  just  wanted  to  see  what 
it  looked  like. 

Rose — {Taking  small  pail  from  behind  curtains 
of  window.)     Here  it  is. 

Knowles — {Hurriedly  takes  it,  bends  down  before 
fire,  lifts  it  to  the  level  of  his  eyes,  holding  it  so  that 
the  rays  of  the  fire  will  fall  upon  it.  Nods  his  head. 
Sticks  his  finger  in  it,  and  tastes  it  with  the  tip  of  his 
tongue.  Spills  a  little  bit  on  his  white  handkerchief, 
holds  that  in  front  of  fire  until  it  dries,  and  then 
smells  handkerchief — almost  to  himself.)  By  God, 
it  is 


Rose — {Who  has  been  watching  all  this  in  blank 
amazement.)     Is  what? 

Knowles — {Looks  at  her  a  moment  as  if  he  did 
not  see  her — then  suddenly  comes  to  his  senses.) 
Oh!    Why,  it's  just  what  I  thought  it  was — very 


ACT  I  29 

bad,  dar>gerous  water.  Your  grandpop  was 
right — you  must  never  tell  any  one  where  the 
well  is  located.  It  would  bring  nothing  but  misery 
to  any  one  who  did  not  know  how  to  use  it. 

Rose — I  don't  see  how  I  could  ever  tell  any  one 
but  you  about  it — seeing  I'm  going  away  with 
you  to-night. 

Knowles — ^That's  right.  {Looking  at  her 
keenly.)  You  know,  little  girl,  I  love  you.  I've 
told  you  so  many  times,  and  you  trust  me  ab- 
solutely, don't  you.^ 

Rose — Why  you  know  I  do. 

Knowles — Yes,  but  you  shouldn't! 

Rose— Shouldn't.?     Why  not.? 

Knowles — Oh,  there  are  lots  of  bad  men  in  the 
world  who  go  about  taking  advantage  of  little 
girls  like  you.  Now,  to  protect  you,  I'm  going 
to  sign  a  paper  with  you — in  that  paper  we  will 
say  that  three  years  from  to-day  our  marriage 
shall  be  announced.  I've  had  the  paper  all 
ready  for  some  time.  {Taking  legal-looking 
document  from  pocket.)  Here  it  is.  {Opening  it — 
pointing  to  place  on  it.)  You  sign  your  name  here 
— I'll  sign  mine  just  below  it.  {Takes  fountain 
pen  from  pocket,) 


30  BIRDS  OF  A  FEATHER 

Rose — (Hesitating.)  But — I  don't  see  no  use 
in  our  doing  all  this.  (Taking  pen,  he  holds  it  out 
insistently.)  Of  course,  as  long  as  you  want  me 
to,  I'll  do  it,  but,  honestly,  it  seems  foolish  to  me. 

Knowles — (Pointing  to  line  on  paper,  which 
he  has  folded  so  that  she  cannot  see  the  contents.) 
Right  there.  (She  signs  her  name.)  That's 
right.  (She  is  about  to  take  paper  and  look  at  it.) 
No,  don't  do  that.  There  is  so  much  in  the  paper 
we  won't  have  time  to  read  it  now.  After  we  are 
married,  to-morrow,  you  shall  have  a  copy  of  the 
paper  to  keep  with  you  always. 

Rose — (Dreamily.)  "After  we  are  married!" 
I  wonder  if  you  men  know  all  that  word  means  to 
us?  I  wonder  if  you  ever  stop  to  think  what  our 
going  away  with  you  men  means.?  Leaving  all 
we  ever  loved,  to  go  into  strange  places, 
among  strange  people.**  I  wonder  if  you 
ever  could  realize  just  what  we  expect  of  you.? 
I'm  putting  all  my  trust  in  you  (places  her  arms 
about  his  neck),  and  I'm  going  with  you,  without 
knowing  anything  about  where  I'm  going  or  what 
I'm  going  to  do.  You  wouldn't  deceive  me, 
would  you.?  You  wouldn't  ask  me  to  go  unless 
you  really  loved  me,  would  you.?  You  wouldn't 
want  me  to  give  up  all  I  have  here  unless  you 
wanted  to  give  me  something  better  in  the  place 
you're  going  to  take  me,  would  you .? 


ACT  I  31 

Knowles — {Holding  her  close  to  him.)  No, 
dear — I  do  love  you  and  I'm  going  to  take  care  of 
you,  always.  {Looking  at  watch.)  Can  you  get 
ready  and  meet  me  at  the  foot  of  the  mountain 
in  half  an  hour? 

Rose — {Almost  in  tears,  looking  about  the  room.) 
Yes — I  think  so. 

Knowles — Good;  then  Til  go  now,  get  a  rig 
ready  and  meet  you,  just  as  soon  as  I  have  ex- 
plained my  disappearance  to  the  posse.  {Starts 
for  door.)  Don't  bother  to  take  anything  with 
you.  We'll  buy  everything  you'll  need  in  New 
York,  to-morrow. 

Rose — {Tearfully.)     Can't  I  take  nothin'.? 

Knowles — Of  course,  you  foolish  little  girl. 
I  meant  no  clothes  or  anything  like  that.  {Holds 
out  his  arms  to  her — she  runs  to  him.)  Good-bye, 
little  sweetheart — ^just  for  a  little  while.  I'll 
meet  you  in  half  an  hour.     {Kisses  her  and  exits.) 

Rose  stands  just  where  he'  has  left  her,  looking 
after  him.  After  a  moment  she  turns,  looks  around 
the  room,  sobs  and  falls  in  front  of  fireplace,  burying 
her  face  in  the  bearskin  rug. 

After  a  moment  she  gets  up,  goes  to  the  table  and 
writes  a  letter,  which  she  places  in  a  conspicuous 
place  on  the  table. 


32  BIRDS  OF  A  FEATHER 

Shf  then  takes  her  hat  from  the  peg,  puts  it  on, 
takes  down  her  coat,  gives  one  last  look  around  the 
room,  sees  her  mother^s  picture  on  the  mantelpiece, 
goes  to  it,  takes  it  up,  kisses  it  and,  sobbingly,  goes 
to  door  without  looking  back  again,  placing  the 
picture  in  her  bosom  as  she  does  so.     Exits. 

There  is  a  moment^ s  pause,  then  the  curtain  falls . 
CURTAIN 


ACT   II 

Scene — A  nicely  furnished  drawing-room  in  a 
flat  in  the  West  Forties^  New  York  City. 

Time — Three  years  after  the  first  act. 

Discovered — Amy,  the  colored  maid  servant,  in  the 
act  of  opening  a  large  box  containing  a  new  dress. 
She  draws  it  out,  holds  it  up  and  admires  it,  shaking 
her  head  as  she  notices  it  is  not  quite  finished. 
After  a  moment,  Rose  enters  from  the  door  at  side 
of  room. 

Rose — Has  the  dress  come  yet,  Amy? 

Amy — Ya'as,  indeed,  Missie.  It  suah  has, 
but  it  don'  look  to  me  as  if  de  lad-y  wot  done 
de  work  had  finished  it. 

Rose — {Going  toward  her  and  looking  at  dress.) 
She  certainly  has  not.  What  am  I  going  to  do 
now?  I  wanted  that  dress  for  to-night — for  a 
particular  reason. 

Amy — Ah  dunno,  Missie.  Mebbe  you  kin  git 
her  on  the  telephone  and  tell  her  to  come  on  over 
an'  fix  it. 

Rose — She  hasn't  a  telephone  number.  I 
think  you'll  have  to  go  over  yourself  and  ask  her 
to  come.     Will  you? 

33 


34  BIRDS  OF  A  FEATHER 

Amy — Of  co'se  ah  will.  Jes'  giv'  me  de  numbah 
ob  her  apahtment  an'  ah'll  have  her  heah  in  no 
time  'tall. 

Rose— 467  West  58th  Street. 

Amy — Does  you  all  want  me  to  go  right  dis 
minute.^ 

Rose — Yes.     Have  you  anything  else  to  do.? 

Amy — Well,  I  aint  got  de  dinna  all  ready  yit — 
'sides,  ah  don't  like  to  leave  you  alone  heah. 

Rose — That's  right.  I  don't  like  to  be  left 
alone — now.  {Looking  at  dress  critically.)  Per- 
haps I  can  fix  it  myself,  Amy.  You  know  I  can 
sew  pretty  well,  and  I'm  learning  to  do  so  better, 
every  day. 

Amy — Yas'em,  ah  knows.  You  suah  does  do 
ev'ting  you  tries,  mighty  hahd.  Ah  nevah  did 
see  a  lady  what  studied  more  books  dan  you  do. 
{Laughs.)  Mah  goodness!  Ef  ah  had  de  larnin'  you 
have,  ah'd  suah  set  mahself  up  as  a  school-teacher. 

Rose — {Smiles.)  Well,  you  see,  Amy,  when 
I  came  to  New  York  three  years  ago,  I  didn't 
know  very  much,  and  I've  had  to  learn  to  keep 
up  with  the  rest  of  the  people  here.  I've  had 
to  do  it  all  myself,  too,  because — well,  I  was 
ashamed  to  let  any  one  know  how  ignorant  I 
really  was. 

Amy — Yas'em.  Ah  feels  dat  a  way  mahself 
sometimes,  but  ah's  nevah  ashamed  of  mahself — 


ACT  II  35 

no  sah!  Why,  dey  tells  me  ah  speaks  de  English 
langwidge  de  bestus'  of  any  of  dem  chillens  of  mah 
moth'ahs.     Yas,  sah!     Ah's  some  Englisher,  ah  is. 

Rose — (Smiles.)  Yes,  you  do  speak  the  lan- 
guage very  well  indeed.  Amy.  Has  Mr.  Knowles 
telephoned  to  say  what  time  he  was  coming  home? 

Amy — No,  ma'am,  he  aint. 

Rose — Oh,  well,  he  will  be  home  early  to-night 
— I  know  that.  There  is  so  much  to  happen 
to-night.  Amy.  Oh,  I  wish  I  could  tell  you  all 
about  it.  I'm  so  happy!  This  is  the  third 
anniversary  of  my  marriage. 

Amy — My,  my!  Is  dat  so.?  Well,  well — no 
one  would  evah  believe  dat  you  been  done  married 
foh  dat  long.  Why,  you  all  don't  look  like  moah 
dan  a  little  gal  yit. 

Rose — Well,  I'm  not  very  old.  Amy. 

Amy — (Goes  to  door  leading  to  hall.)  Ah  thinks 
ah  heah  Mr.  Knowles  a  comin'. 

Rose — Oh,  I  don't  want  to  see  him  now.  I 
want  to  be  all  dressed  up  before  he  sees  me. 
{Picks  up  dress  quickly  and  starts  for  door.) 
You'd  better  go  into  the  kitchen  and  finish  the 
dinner  and  I'll  try  and  fix  the  dress.  If  I  can't, 
I'll  let  you  know,  and  you  can  run  over  to  the 
dressmaker's  house  quickly.  Don't  say  anything 
to  Mr.  Knowles  about  the  new  dress,  I  want  to 
surprise  him.       {Exits    quickly.) 


36  BIRDS  OF  A  FEATHER 

{Amy  gathers  up  box  quickly  and  leaves  the  room 
on  the  other  side  of  the  stage. 

The  noise  of  a  key  is  heard  in  the  door.  After  a 
moment,  enter  Hozvard  Knowles.  He  looks  very 
nervous.  Comes  in  very  quietly,  makes  sure  there 
is  no  one  there;  looks  around,  sees  the  decorations 
Rose  has  placed  about  the  room,  looks  puzzled. 
Goes  over,  listens  at  Rosens  door,  then  crosses  to  door 
leading  to  kitchen,  listens  there.  Satisfied  that  he 
will  be  alone,  he  takes  off  coat,  throws  it  on  chair 
near  the  door,  goes  to  writing  desk,  sits  down,  takes 
revolver  from  his  pocket,  lays  it  on  the  desk  in  front 
of  him,  then  takes  wallet  from  his  pocket.  Hastily 
counts  the  large  amount  of  yellow-backed  bills  it 
contains,  smiles.  Goes  to  room  on  opposite  side  of 
stage  to  where  Rose  made  her  exit,  goes  quickly  in 
and  returns  with  a  suit  case  and  numerous  clothes, 
which  he  hurriedly  packs  in  it.  All  through  this 
he  is  listening  carefully  for  the  least  sound.  When 
the  suit  case  is  packed,  he  puts  on  his  overcoat,  takes 
up  suit  case  and  starts  for  door.  Just  as  he  reaches 
door,  the  telephone  bell  rings.  He  stops,  listens,  and 
then  quickly  crosses  and  takes  receiver  off  the  hook. 
Holds  it  to  ear,  and,  in  reply  to  what  is  evidently  said, 
snaps  his  fingers  several  times. 

He  then  hangs  up  the  receiver  very  quietly, 
starts  to  pick  up  dress  suit  case  again,  and  as  he  does 
so,  there  is  a  low  knock  on  the  door  leading  to  the  hall. 


ACT  II  37 

He  drops  the  suit  case^  crosses  quickly  to  door,  taking 
revolver  out  of  his  pocket  as  he  does  so.  After 
listening  for  a  moment,  the  knock  is  repeated,  a 
little  hit  louder.     Then  a  voice  is  heard — softly.) 

Voice — {Outside  door.)  Howard — let  me  in. 
It's  Alice. 

Howard — (Shows  his  annoyance,  but  thrusts 
revolver  in  his  pocket — speaks  through  the  door, 
softly.)     I'll  see  you  outside. 

Alice — {Pounding  on  door  this  time,  and  speak- 
ing louder.)     No — no!     I  must  get  inside — quick! 

Howard — Wait  a  moment.  {Quickly  crosses 
to  Rosens  door,  listens,  hears  nothing;  returns  to  hall 
door  and  opens  it.) 

Alice — {Enters,  holding  open  telegram.) 
Howard!  What  do  you  mean  by  this?  {Indi- 
cating telegram.) 

Howard — Ssh!  What's  the  matter.**  I  ex- 
plained everything. 

Alice — What's  the  matter  with  you.^  There 
was  a  matinee  this  afternoon,  and  I  only  got  this 
telegram  an  hour  ago.  What  do  you  mean  by 
this.^  {Indicating  telegram.)  "I  am  going  away 
indefinitely — will  write  later." 

Howard — Isn't  the  telegram  plain  enough.^ 
How  did  you  find  this  place.'' 

Alice — I  went  to  your  oflfice  and  found  it 
closed,  but  the  janitor  told  me  where  you  lived. 


38  BIRDS  OF  A  FEATHER 

Say,  what  are  you  trying  to  do — throw  me 
down  ? 

Howard — Why,  no,  dear.  I've  simply  got  to 
get  away  on  imperative  business. 

Alice — Business!     {Her  voice  rises.) 

Howard — Ssh ! 

Rose — {Off  stage.)     Amy! 

Amy — {Off  stage.)     Yas,  ma'am. 

Rose — You'd  better  go  over  to  Mrs.  Smith's  and 
tell  her  I  simply  must  have  her  over  here  to-night. 
I  can't  fix  this. 

Amy — Yas,  ma'am.  You  all  tell  Mr.  Knowles 
he'll  have  to  wait  a  few  minutes  foh  his  dinna. 

Rose — {Laughing.)  All  right,  I  will.  Mr. 
Knowles  won't  mind.     Hurry. 

( The  door  is  heard  to  slam  off  stage ^  then  some  one 
is  he  rd  running  dozvn  the  hall,  the  door  is  heard  to 
open  and  Rose  calls.) 

Rose — Wait  a  minute,  Amy.  I'm  going  down 
to  see  Mrs.  Archer  a  moment.  {The  door  is  heard 
to  shut  again,  and  there  is  silence.  During  this, 
Howard  has  grasped  Alice  by  the  wrists  and  is 
holding  her  absolutely  quiet.  She  glares  at  him  as 
the  door  closes.) 

Alice — So!  Keepin'  another  flat,  are  you.? 
That's  the  reason  you  wanted  to  get  away,  is  it.? 

Howard — Now,  don't  be  silly.  It's  because  I 
am  keeping  another  flat  that  I'm  doing  what  I  am. 


ACT  II  39 

IVe  wanted  to  break  away  for  a  long  time,  ever 
since  I  knew  you.  I've  made  a  raise,  but  in 
doing  so,  I've  got  myself  into  trouble.  I've 
simply  got  to  get  away  from  here. 

Alice — I  think  you're  a  liar.  {Passionately 
throwing  her  arms  about  his  neck.)  Oh,  Howard! 
Who  is  it  that  is  dearer  to  you  than  I.** 

Howard — No  one,  I  tell  you.  {Pushing  her 
away  from  him  and  looking  at  watch.)  Look  here, 
Alice,  can't  you  understand  I've  got  to  get  away 
from  here  before  any  one  comes  back  ? 

Alice — What — and  leave  me.^  No,  no,  sweet- 
heart. You  must  not.  Why,  I've  been  every- 
thing to  you,  even  wife,  except  in  name.  My  life 
without  you  would  be  like  an  unlighted  candle. 
Be  my  match  and  I'll  burn  my  life  out  for  you. 

Howard — Oh,  I  know  all  about  that.  But 
I've  got  to  get  away.  I  tell  you,  if  I  stay  here, 
I'll  go  to  prison. 

Alice — {Backing  away,  surprised.)     To  prison! 

Howard — Yes,  and  for  five  or  ten  years. 

Alice — My  God!     What  have  you  done? 

Howard — I  got  a  chance  at  fifty  thousand 
dollars  to-day,  from  a  wealthy  client,  and  took  it. 
If  he  catches  on  to  the  fact  that  I'm  gone,  it's  all 
off.  I've  got  to  get  away  to-night.  I  can't 
take  you  with  me,  but  I  can  send  for  you  in  a 
little  while. 


40  BIRDS  OF  A  FEATHER 

Alice — Not  on  your  life.     Vm  going  with  you. 

Howard — You  say  you  love  me. — I  want  to 
see  how  much  you  love  me.  {Putting  his  arms 
about  her.)  If  you  love  me,  you  trust  me — if  you 
don't  trust  me,  you  don't  love  me.  Will  you 
stand  by  me.^ 

Alice — I've  told  you  I  would,  and  to  prove  it, 
I'm  going  with  you.  In  this  kind  of  a  game,  a 
woman  can  do  so  much. 

Howard — A  woman  is  useless  when  she's 
cornered.  I  can't  take  any  chances  on  having 
you  go  all  to  pieces  if  we're  caught. 

Alice — Oh,  slush!  In  my  profession  I  am 
rated  as  an  artistic  dancer.  Three  years  ago  I 
took  a  run  at  the  legit.,  as  you  know.  That's 
what  took  me  up  to  Lake  George,  where  I  met 
you.  I  wanted  to  study  some  of  the  local 
characters.  I  studied  one — one  that  you  knew, 
too.  You  talk  about  a  woman  going  to  pieces 
when  she's  cornered.  Ha!  It  is  to  laugh!  Do 
you  remember  little  Rose  Noble  .^ 

Howard — (Starts  and  looks  quickly  at  her.) 
Rose  Noble — of  course  I  do. 

Alice — You  were  rather  sweet  on  her,  weren't 
you.? 

Howard — Nonsense ! 

Alice — I   suppose  you   thought,   like   all   the 


ACT  II  41 

others,  that  she  was  just  a  sweet  little  innocent 
country  maid — didn't  you  ? 

Howard — I  don't  know  that  I  ever  really 
thought  of  her. 

Alice — Don't  lie  to  me,  Howard!  Well,  never 
mind.     She  gave  me  the  scare  of  my  life  one  night. 

Howard — How  so.'* 

Alice — Do  you  remember  the  night  they  were 
looking  for  that  hotel  thief  .^ 

Howard — Of  course  I  do. 

Alice — Well,  just  to  show  you  that  all  women — 
even  innocent  ones — or  those  that  people  think 
are  innocent — don't  go  to  pieces,  as  you  express  it, 
I'll  tell  you  what  she  did.  When  the  detectives 
and  the  posse  were  looking  for  the  thief — her 
lover — she  hid  him  in  her  bed,  and  he  escaped. 

Howard — {Startled.)     How  do  you  know? 

Alice — I  saw  him. 

Howard — You  did? 

Alice — I  did.  She  had  him  shut  up  in  her 
folding  bed,  and  when  he  got  almost  smothered, 
the  bed  fell  open,  and  he  rolled  out  on  the  floor. 

VLowAKD~{With  deep  feeling.)  Well,  I'll  be 
damned! 

Alice — Surprises  you,  don't  it?  Now,  if  I 
haven't  got  as  much  courage  as  this  Rose  Noble, 
I'll  eat  my  shirt,  and — I'm  going  with  you! 


42  BIRDS  OF  A  FEATHER 

Howard — {Quickly.)  You  can't.  YouVc 
nothing  ready. 

Alice — Now,  don't  you  worry  about  that. 
With  fifty  thousand  dollars  in  your  kick,  I  guess 
you  can  get  what  I  need  at  the  first  stop.  Just 
give  me  time  to  pack  my  grip,  and  I'll  meet  you  at 
the  station.  But  don't  try  to  get  away  without 
me,  'cause  if  you  do,  I'll  have  the  police  on  your 
track  before  you  can  even  get  from  here  to  the 
train. 

Howard — {Making  up  his  mind.)  All  right. 
Meet  me  at  the  Pennsylvania  Station  at  eleven- 
thirty  to-night,  and  we'll  start.  {Looking  at 
watch.)  It's  just  eight  now  —  that'll  give  you 
plenty  of  time  to  go  and  get  your  things  ready. 
But — keep  your  mouth  shut. 

Alice — All  right.  {The  outer  door  is  heard  to 
open  and  close.     Rose  is  heard  singing.) 

Howard — {To  Alice.)  Quick!  Get  out  this 
way.  {Takes  her  quickly  to  door,  opens  it,  pushes 
her  outside  and  closes  door  after  her.  After  a  mo- 
ment, Rose  enters,  sees  Howard  standing  near  door 
with  his  coat  on.) 

Rose — {Going  towards  him.)  Oh,  Howard, 
I'm  so  glad  you've  come.  You're  awfully  late, 
but  {with  a  laugh)  perhaps  it's  just  as  well,  for 
dinner    is  late,   too.     {Putting    her    arms    about 


ACT  II  43 

him.)  I  wanted  to  surprise  you  with  something, 
but  I  guess  I  can't  now. 

Howard — (Coldly  pushing  her  away.)  Oh, 
stop  all  this  foolishness,  Rose. 

Rose — Why,  Howard!  {Tenderly.)  What's 
the  matter,  dear?  Tired.?  Well,  we'll  have  an 
evening  all  to  ourselves  to-night.  You  haven't 
forgotten  what  to-night  means  to  me,  have  you.? 

Howard — I  know  what  it  means  to  me  if  I 
don't  get  away  from  here  pretty  soon. 

Rose — {Disappointed.)  What.?  Going  out 
again  to-night.?  Oh,  Howard,  no.  Surely,  dear, 
you  won't  leave  me  alone  to-night! 

Howard — What's  to-night  got  to  do  with  it.? 

Rose — Why,  dear,  to-night  is  our  third  anni- 
versary— the  night  we  were  to  have  such  a  good 
time.  The  night  you  were  to  acknowledge 
before  all  the  world  that  I  was  your  wife. 

Howard — {Coldly.)  What  if  I've  changed  my 
mind .? 

Rose — {Laughing.)  Oh,  you  could  hardly  do 
that,  Howard.     I  am  your  wife,  you  know. 

Howard — Could  you  prove  it.? 

Rose — Prove  it.?  {Nervously.)  Why — why — 
I    suppose   I    could   if   I   had    to,    but — {looking 

closely  at  him)  but Why,  what  is  the  matter 

with  you  to-night,  Howard.?  You  have  never 
acted  like  this  before? 


44  BIRDS  OF  A  FEATHER 

Howard — Well,  I  never  knew  some  of  the 
things  before  that  I  learned  to-day.  YouVe  a 
nice  one,  you  are.  Passing  yourself  off  as  a 
nice,  sweet  child — taking  me  in — me — of  all 
people  in  the  world.  This  is  one  time  in  my  life 
that  I  got  stung  good.  You!  The  innocent 
mountain  maid.  You!  The  sweet,  little  girl 
that  all  the  neighbors  thought  so  pure  and  un- 
protected. You!  Taking  in  an  old  hand  like  me. 
{Laughs  sarcastically.)  You're  all  right,  little  one. 
I  guess  you  can  take  care  of  yourself  when  Vm 
gone. 

Rose — (fFho  has  been  listening  in  amazement 
to  this  tirade.)  Howard!  What  on  earth  are 
you  talking  about .^ 

Howard — Oh,  that's  right,  play  the  innocent 
girl  some  more.  It's  a  good  thing  for  me  that  I 
didn't  marry  you 

Rose — (Interrupting.)  Didn't  marry  me.^ 
What  do  you  mean? 

Howard — I  mean  just  what  I  say.  You  are 
not  married  to  me! 

Rose — (Not  realizing  he  is  in  earnest^  laughs 
nervously.)  You — you — you  are  in  such  a  strange 
mood  to-night,  Howard.  I  never  knew  you  to 
joke  like  this  before. 

Howard — Oh,  you  think  it's  a  joke,  do  you.^ 

Rose — (Seriously.)     Why,  what  else  could  it 


ACT  II  45 

be?  We  were  married  three  years  ago  tonight, 
and  we  were  to  wait  until  this  time  before  we 
would  let  any  one  know  of  it.  Why,  you  signed  a 
paper  in  which  you  stated  this  was  to  be  the  case. 

Howard — (Sneeringly.)  Oh,  I  did,  did  Ir* 
Did  you  read  the  paper  you  signed  ? 

Rose — Of  course  I  didn't.     I  trusted  you. 

Howard — Have  you  got  a  marriage  certificate 
to  prove  that  we  were  married.? 

Rose — {Jt  last  becoming  frightened.)  Howard! 
Stop!  I  don't  like  these  kind  of  jokes.  You 
know  I  haven't  any  certificate 

Howard — Of  course  you  haven't.  There 
wasn't  any.  We  were  not  married  three  years 
ago  to-night.  We  were  never  married!  That 
ceremony  we  went  through  was  just  one  to  satisfy 
a  very  foolish  little  girl — or  what  I  thought  was 
a  very  innocent  little  girl.  The  man  who  per- 
formed the  so-called  ceremony  was  a  friend  of 
mine,  used  for  that  occasion  only. 

Rose — {Looking  at  him  in  horror.)     My  God! 

Howard — The  paper  you  signed  had  nothing 
to  do  with  a  promise  of  marriage. 

Rose — Oh!  Don't  say  these  things,  Howard! 
You  don't  know — you  don't  know  what  you  are 
saying.  We  are  married,  dear — say  it,  please 
say  it!  You  don't  know  what  it  means  to  me. 
Can't    you    see    what    has    happened.?     {Going 


46  BIRDS  OF  A  FEATHER 

to  work-basket  quickly,  and  getting  out  a  little  white 
dress — holds  it  up.) 

Howard — What's  that? 

Rose — Can't  you  see?  Can't  you  understand 
we  must  be  married!  Oh,  Howard!  Say  that 
you  don't  mean  all  you've  been  saying  to  me 
to-night. 

Howard — {At  last  recognizing  that  it  is  a  baby's 
dress  she  is  holding  up  for  his  inspection — looks 
at  her  coldly.)     Who's  the  father? 

Rose — {Almost  fainting  at  the  insult,  but  with 
indignation.)  Howard!  {In  tears.)  Oh,  I've  been 
counting  on  the  happiness  this   little   soul  would 

bring   to   us   both!     And   now — now {Breaks 

down  entirely.) 

Howard — Now — now — what?  You've  taken 
me  in  just  as  badly  as  I've  taken  you  in.  What 
about  your  other — lover? 

Rose — Other  lover?     What  do  you  mean? 

Howard — How  about  the  man  you  had  con- 
cealed in  your  bed — three  years  ago  to-night? 

Rose — Man — bed — three  years  ago 

Howard — Oh,  don't  try  to  play  the  innocent 
kid  any  longer.  I  know  all  about  it.  I  know 
that  you  concealed  your  crook  lover  from  the 
men  who  were  hunting  him,  the  very  night  you 
and  I  left  the  Black  Mountain.  I  know  the 
only  reason  you  came  with  me  so  willingly  was 


ACT  II  47 

to  be  near  him  here  in  New  York.  Don't  tell 
me  I  haven't  been  taken  in.  I  know  better. 
I  was  going  away  to-night,  but  I  was  going  to  see 
that  you  were  taken  care  of  while  I  was  gone; 
but  by  God — your  lover,  the  father  of  your 
baby — can  take  care  of  you  now.     If  he  will! 

Rose — (Furious.)  Stop!  You  know,  deep 
down  in  your  own  heart,  there  is  not  a  word  of 
truth  in  anything  you  have  said.  You  know  I 
have  been  as  true  a  wife  to  you  as  any  woman 
could  be  to  a  man.  If  you  have  deceived  me, 
as  you  say  you  have,  you  have  done  something 
that  God  will  punish  you  for  when  His  time 
comes.  There  has  been  no  other  man,  and  you 
know  it.  I  don't  know  what  your  object  is  in 
all  this — but  I  do  know  you  must  have  some  plan 
in  your  filthy  mind  to  make  you  act  in  this 
manner.  If  it  is  your  will  to  leave  me,  do  so,  but 
do  not  dare  carry  your  insults  any  further,  or, 
so  help  me  God,  I'll  kill  you  where  you  stand— 
with  my  bare  hands,  if  I  must.  (He  starts  to  say 
something.)  No — you've  had  your  say — it's  my 
turn  now.  There  was  a  man  in  my  cabin  the 
night  you  speak  of — a  poor  hunted  creature 
looking  for  protection  from  a  mob  of  maddened 
men.  I  did  conceal  him  in  my  bed,  because 
there  was  no  other  place  for  him  to  hide.  There 
was   but   one   person   who   knew   of  this  besides 


48  BIRDS  OF  A  FEATHER 

myself — a  woman  who  came  there  to  warn  me 
against  you — because  she  wanted  you  herself, 
perhaps.  That  man  I  have  never  seen  since — 
and  you  know  it.  That  man  has  never  entered 
my  life — had  never  entered  my  life,  but  com- 
pared to  you — thief  though  he  was — he  was  a 
nobleman.  What  the  paper  was  that  I  signed, 
I  know  not,  nor  care  not,  I  only  know  I  have 
trusted  you  as  only  a  woman  can  trust  the  man  she 
loves.  /  have  not  proved  unworthy — you  have — 
and  if  there  is  justice  in  this  world,  my  worthiness 
will  be  proven  and  yours  will  be  punished.  You 
have  given  me  a  place  to  live  and  have  fooled  me 
into  believing  you  were  giving  me  affection  to  go 
with  it.  You  try  to  make  me  suffer  for  your 
sins — well  and  good.  I  will  suffer  my  shame 
alone — not  with  you.  What  you  have  given  me, 
I  will  give  back  to  you.  You  may  go  where  you 
will,  so  will  I.  You  may  do  as  you  will — so 
will  I.  From  this  time  on  I  am  not  your  wife — 
even  though  I  believe  you  lie  when  you  say  we  are 
not  married.  Go  your  way — Pll  go  mine — and 
may  our  paths  never  cross  again.  {Goes  to  door 
of  her  room.) 

Howard — {Picking  up  suit  case.)  Pll  take  you 
at  your  word — Mistress !     {Exit.) 

Rose — {Half  fainting  against  door  of  her  room.) 
Howard!    {Amy  enters.) 


ACT  II  49 

Amy — She  am  comin'  ovah  in  jes'  a  little  while 
{Notices    Rosens    condition.)     Ma     Gawd, 


chile!     Wot's  de  mattah? 

Rose — {Regaining  control  of  herself.)  Amy, 
go  into  my  writing  desk  and  get  me  a  little  red 
book  you  will  find  there.     Bring  it  here. 

Amy — Yas'm.  {Exits  quickly,  returning  at  once 
with  book.)     Is  dis  it.-* 

Rose — {Taking  book.)  Yes.  {Opens  it,  takes 
out  a  little  piece  of  crumpled  paper,  gives  it  to  Amy.) 
Do  you  know  where  that  street  is.  Amy? 

Amy — {Opening  paper  and  reads.)  Jimmic 
Saunders,  23  Rivington  Street,  New  York. 
Yas'm,  ah  does.   It's  away  down  on  de  Eas*   side. 

Rose — {Firmly.)  Pack  me  a  few  things  in  my 
satchel.     I'm  going  away. 

Amy — Goin'  away?     Mah  goodness!    Whuffo? 

Rose — ^And  I  won't  be  back. 

Amy — {More  and  more  amazed.)  Look  heah, 
woman.     Is  you  crazy? 

Rose — Not  yet — but  I  would  be  if  I  stayed 
here.  {Breaking  down.)  Oh,  my  God!  About 
to  become  a  mother — deserted — alone — deceived! 
{Sinks  down  on  the  floor  in  a  wild  abandon  of  tears. 
Amy  stands  above  her,  perfectly  amazed.) 
CURTAIN 


ACT   III 

Scfitf — J  handsomely  furnished  room  in  a  side- 
street  hotel  in  the  Times  Square  district,  New  York. 
The  entire  place  has  an  atmosphere  of  the  theatre. 
There  are  several  trunks,  partially  packed,  around 
the  room.  There  is  a  ^^  Three  Sheet^*  on  the  back 
wall  showing  a  figure  in  Oriental  costume,  and  posed 
as  for  dancing.  Photographs  of  celebrities  of  the 
theatrical  world  adorn  the   mantelpiece   and  walls. 

Time — Three  years  after  the  second  act. 

Discovered — The  stage  is  empty.  After  a  moment 
the  door  opens  and  Alice  Winslow  enters.  She  is 
dressed  in  street  costume.  She  looks  about  the 
disordered  room,  makes  a  movement  of  anger,  and 
calls: 

Alice — Amy!    Amy! 

Amy — {Enters  slowly  from  bedroom  door.) 
Yas'm.     Heah  I  is. 

Alice — Why  haven't  you  picked  up  this  room  ? 
I  never  saw  such  a  looking  place  in  my  life. 
What  do  you  suppose  I  hired  you  for,  if  not  to  look 
after  my  things  a  little  bit!  You  know  these 
trunks  have  to  go  to  the  theatre  to-night — dress 
rehearsal  to-morrow,  and  not  a  thing  ready! 
50 


ACT  III  51 

Amy — You  all  done  tol'  me  not  to  finish  packing 
until  dat  udder  dress  come. 

Alice — Hasn't  that  got  here  yet? 

Amy — No,  ma'am,  hit  aint. 

Alice — That's  what  I  get  for  giving  my  work 
out  to  a  bum  costume  concern.  Call  'em  up  and 
ask  'em  why  it  aint  here.  No,  wait  a  moment, 
and  help  me  get  out  of  these  things  of  mine. 
(Starts  to  take  off  outer  wraps.)  Get  me  my 
kimono — the  red  one — and  the  slippers  to  match. 
Gee,  I'm  tired,  believe  me.  {Sits  down^  taking 
off  gloves.)     Any  messages  t 

Amy — One  telephone  message.  A  Mister — 
Mister — Reynolds  called  up. 

Alice — {Eagerly.)  He  did?  What  did  he 
want? 

Amy — Done  sed  he  wanted  to  see  you  all. 
Said  to  be  sure  and  tell  you  he  was  a-goin'  back 
to  Chicago  to-night  and  wanted  to  see  you  before 
he  left.  Sed  he'd  call  you  up  a  little  latah  and 
talk  to  you  all  his  se'f.  ^ 

Alice — Well,  I  wouldn't  miss  him  for  a  good 
deal.  He's  that  Chicago  manager  I've  been 
talking  about.  Wants  me  to  go  out  there  and 
open  a  new  theatre  he's  interested  in.  Says  if  I 
make  good  he'll  see  that  I  have  a  company  of  my 
own  on  the  Columbia  time.  {Amy  is  removing 
her  shoes  and  puts  on  slippers.)     Ha!     Wonder 


52  BIRDS  OF  A  FEATHER 

what  old  Howard  would  say  if  he  knew  I  was 
goin'  to  be  a  star!  {Rises  and  goes  behind  screen, 
puts  on  kimono,  talking  all  the  time.)  Gee,  Amy, 
talk  about  a  man  going  to  the  bad!  Suffering 
cats!  He  was  the  limit — never  could  quit  drink- 
ing long  enough  to  give  himself  a  chance  to  get  a 
thirst.  {Coming  out  from  behind  the  screen  and 
seating  herself  in  front  of  dressing  table.)  He  was 
a  good  spender,  I'll  say  that  for  him.  {Laughs.) 
Amy,  when  I  get  a  good  spender  around,  I  can 
certainly  show  him  more  places  to  leave  money 
than  any  woman  I  know.  {Takes  off  pearl 
necklace.)  See  this,?  That's  one  of  his  presents. 
It's  real  stuff,  too.  Cost  him  a  small  part  of  his 
fifty  thousand,  believe  me. 

Amy — {Admiring  necklace.)  My,  my!  Ah  al- 
was  done  thought  those  was  imitations. 

Alice — Not  on  your  life!  The  real  things!  I 
aint  got  many  real  things,  so  I  take  mighty  good 
care  of  what  I  have  got. 

Amy — While  I  was  cleanin'  out  one  o'  dem 
trunks  dis  aftahnoon,  ah  cum  across  a  bundle  o' 
papahs  dat  was  mahked  Howard  Knowles. 
Heah  dey  is.     {Hands  papers  to  Alice.) 

Alice — {Takes  them,  looks  carelessly  at  them 
and  throws  them  down  on  the  table.)  I  guess  they 
aint  anything  important.  If  they  was,  he'd 
never  have  left  'em  with  me.     Gee,  I   haven't 


ACT  III  53 

seen  him  since  I  shook  him  in  London.  He  got 
too  much  for  me.  You  can  burn  'em  to-morrow. 
(Telephone  bell  rings.     Amy  answers  it.) 

Amy — Yas.  Who  is  dis?  {Turning  to  Alice.) 
Mistah  Reynolds  is  callin'. 

Alice — {Making  a  rush  for  the  ^phone.)  Let 
me  at  him.  {Softly  into  ^phone.)  Hello.  Yes. 
Why,  of  course.  How  soon  can  you  come.^  Yes, 
I'll  see  you  sure.  In  fifteen  minutes.?  Come 
right  up  in  the  elevator.  All  right.  Good-bye. 
{Hangs  up  receiver — to  Amy:)  Come  on,  kid, 
make  a  general  hustle.  I  want  to  look  like  the 
Queen  of  Sheba  in  just  ten  minutes.  {Seats 
herself  in  front  of  glass,  and  Amy  does  her  hair.  ) 

Amy — I  uster  to  know  a  Mr.  Howard  Knowles. 

Alice — {Not  paying  much  attention  to  her.) 
That  so.?     When.? 

Amy — 'Bout  tree  yeahs  ergo.  Ah  used  to  wuk 
foh  him  an'  he's  wife. 

Alice — Go  on —  he  never  had  a  wife. 

Amy — He  suah  did.  An'  he  had  a  baby,  too — 
but  he  nevah  did  see  it. 

Alice — {Laughs  coarsely.)  That  wasn't  his 
baby  any  more  than  the  woman  was  his  wife. 

Amy — {Indignantly.)  Don'  you  s'pose  ah 
knows  what  ah's  talkin'  about.?  You  all  don' 
suppose  ah'd  a  wuked  foh  a  lady  an'  huh  husban' 
dat  wuzn't  married.?     No  suh!     Ah  wuz  decent 


54  BIRDS  OF  A  FEATHER 

den.  Dat  man  dun  run  off  wid  some  woman  an' 
leP  dat  poh  li'l  gal  all  alone.  She  des  pulled  out 
of  dat  house  dat  same  night. 

Alice — How  do  you  know  she  had  a  baby.'' 
Amy — Mah  Gawd,  woman,  don'  you  s'pose 
ah  knows  de  symptons.^  'Sides,  ah  met  huh  on 
de  street  a  while  back.  She  wuz  looking  putty 
bad,  too.  She  done  tol'  me  de  baby  died.  {Dur- 
ing this  conversation  Alice  is  dressing  in  evening 
dresSy  placing  the  necklace  around  her  neck  the  last 
thing.) 

Alice — Did  she  tell  you  where  she  was  living.^ 

Amy — No,  ma'am.     She  didn't.     She  did  tell 

me  dat  she  was  a  makin'  dresses  foh  a  livin' — 

but  ah  reckon  she  wasn't  makin'  many  f'om  de 

looks   of   her.     {Telephone   rings.     Amy   answers 

it.) 

Amy — De  office  says  dat  Mr.  Reynolds  is 
a-comin'  up. 

Alice — All  right.  Clear  up  some  of  this  mess 
and  then  go  down  and  telephone  the  costumers 
that  the  dress  hasn't  come. 

{Buzzer  of  door  is  heard.  Amy  Picks  up  bundle 
of  clothes  and  dashes  for  the  next  room.  Alice  goes 
to  door  and  opens  it.) 

Alice — Come  on  right  in,  Mr.  Reynolds.  I'm 
so  glad  to  see  you.  It  was  mighty  nice  of  you  to 
call  before  leaving  for    Chicago.     {Enter  Jimmie 


ACT  III  55 

Saunders,  dressed  in  the  height  of  fashion,  and 
posing  as  Reynolds.) 

Reynolds — {Shaking  her  hand.)  It's  awfully 
good  of  you  to  see  me,  after  your  day  of  hard 
work.     I  couldn't  resist  once  more  talking  to  you. 

Alice — Oh,  we're  good  friends  enough  for  an 
evening  call,  I  guess.  Let  me  take  your  hat  and 
coat. 

Saunders — Thanks.  {Removes  coat,  which  she 
takes  and  places  on  couch  near  door.) 

Alice — Will  you  have  a  drink. ^ 

Saunders — Well,  for  friendship's  sake — yes. 

Alice — {Pours  out  whiskey — seltzer — gives  it  to 
him.)  Here's  to  our  health  and  happiness! 
{After  pouring  herself  out  a  drink.) 

Saunders — {Touching  her  glass  with  his.) 
Prosit!     {Both  drink.) 

Alice — ( Takes  empty  glasses — puts  them  on  table.) 
Have  you  decided  when  your  theatre  is  to 
open  ? 

Saunders — That's  one  of  the  things  I  wanted 
to  talk  to  you  about.  {Looking  about.)  You 
have  nice  quarters  here. 

Alice — Oh,  yes — they're  nice  and  quiet — and 
the  office  never  bothers  any  of  the  guests.  {Sig- 
nificantly.) 

Saunders — You  look  as  if  you  were  going  away. 

Alice — No,  just  getting  ready  for  the  rehearsal 


56  BIRDS  OF  A  FEATHER 

to-morrow.  Say,  if  this  thing  turns  out  a 
failure — you'll  have  to  give  me  a  job  sure. 

Saunders — If  this  thing  turns  out  a  failure, 
we'll  open  our  new  theatre  with  a  company  headed 
by  you.     How's  that.^ 

Alice — Sounds  pretty  good  to  me. 

Saunders — I  want  to  get  some  stuff  ready  for 
our  press  department,  so  I'm  going  to  interview 
you  (laughingly)  like  a  real  reporter.  You  don't 
mind  ^ 

Alice — Mind.?  Not  on  your  life.  Can  you  do  it.? 

Saunders — Well,  I  guess.  When  I  was  a 
little  bit  younger,  I  was  on  the  staff  of  one  of  the 
leading  papers  of  the  country.  {Business  with 
notebook.)     Are  you  married.? 

Alice — Well — I  was — once. 

Saunders — Do  you  consider  yourself  pretty? 

Alice — ^That's  a  question  only  my  friends  can 
answer.     What  do  you  think.? 

Saunders — {Looking  at  her,  then  writing  and 
reading  aloud  as  he  writes.)  Hair,  red  as  a 
smoky  sun  shimmering  on  a  placid  lake  and 
sinking  in  its  bosom;  eyes  that  flash  from  violet 
to  green-gray,  and  from  innocence  to  coquetry, 
dazzling  and  bewitching  with  their  limpidness; 
skin  as  blue-white  as  frozen  milk,  and  with  the 
freshness  of  babyhood;  and  a  body  as  straight 
and  majestic  as  a  pine;  lithe  as  hot  swamp  grass 


ACT  III  57 

In  an  August  wind — in  fact,  she's  a  dream  of  love- 
liness, so  wonderful  one  would  desire  to  sleep 
forever  rather  than  awaken  to  realize  it  was  but  a 
dream 

Alice — Say — you're  some  writer,  and  the 
funny  thing  about  it  is — you  seem  to  know  what 
you're  talking  about.  If  I  wasn't  a  lady,  I'd  let 
you  kiss  me  for  that. 

Saunders — Well,  of  course 

Alice — {Going  towards  him.)  You  know,  some- 
times, we  ladies  forget  our  bringing  up  and- 


Saunders — (Taking  her  in  his  arms.)  And — 
{kisses  her)  and — don't  regret  it,  eh.? 

Alice — {With  her  arms  about  his  neck,  seated  on 
his  knee.)  Well,  that  depends  upon  the  other 
person,  you  know. 

Saunders — Well,  if  I'm  the  other  person  re- 
ferred to,  you  won't  regret  it,  believe  me.  ( Taking 
notebook  up  again — she  still  sitting  on  his  knee.) 
Got  a  lot  of  costumes.? 

Alice — Five  trunks  full. 

Saunders — Not  enough — you  must  have  at 
least  thirty. 

Alice — Good  Lord !     What  for .? 

Saunders — ^Just  for  the  advertising  man  to 
talk  about. 

Alice — Not  a  bad  idea. 

Saunders — Got  any  special  stuff 


58  BIRDS  OF  A  FEATHER 

Alice — What  d'ye  mean  ? 

Saunders — Oh,  for  example — one  of  the  other 
leading  dancers  is  having  designs  in  oil,  painted 
on  her  bare  legs 

Alice — Who  is  it? 

Saunders — Gertrude  Hoffman. 

Alice — {Sarcastically.)  There'll  be  no  room 
for  the  paint.  Gee,  look  at  the  way  that  dame 
went  up — why,  just  a  few  years  ago  she  was  in 
the  same  chorus  with  me! 

Saunders — Well,  cheer  up — you're  both  out 
of  it.  {With  apparent  indifference^  Ever  been 
robbed  of  your  jewels.^ 

Alice — Not  yet — but  I  have  hopes.     {Laughs.) 

Saunders — Well,  perhaps  we  can  help  you. 
{Laughs.) 

Alice — I've  got  enough  of  'em — ^use  'em  in  my 
dances. 

Saunders — Oh,  I  don't  mean  that  phony  stuff. 
I'm  talking  about  the  real. 

Alice — {Indignantly.)  Well,  now,  don't  think 
I've  never  had  any  real.  Here!  {Indicating.) 
This  necklace  of  pearls  is  worth  real  money. 
How  do  I  know.?  Ha!  Bought  'em  myself 
with  the  money 

Saunders — With  what  money.? 

Alice — Never  mind — they're  genuine  enough 


ACT  III  59 

for  any  press  agent's  stunt — only — no  press 
agent  or  any  one  else  is  ever  going  to  get  near 
enough  to  them  to  do  that  robbery  act. 

Saunders — {Bending  over  and  admiring  jezuels.) 
They  certainly  are  fine  ones,  all  right. 

Alice — They  sure  are.  I  wouldn't  have  'em, 
if  they  weren't. 

Saunders — Oh,  they'll  do  well  enough  for  the 
old  jewel-robbery  story.  We'll  work  it  up  in 
good  shape.  We'll  say  they  were  given  to  you  by 
King  So-and-So  who  fell  in  love  with  your  classic 
charms     and 

Alice — {Laughing.)  Oh,  I  say!  You  sure 
are  all  right,  all  right! 

Saunders — ^And  if  he  didn't  marry  you 

Alice — What.? 

Saunders — By  all  laws  he  should  have  done  so. 

Alice — Say,  that's  some  hot  stuff! 

Saunders — Well,  you  know  in  these  days,  we 
have  to  have  things  spicy. 

Alice — {Fondling  pearls.)  A  robber  would 
make  a  good  haul  here,  if  he  knew  the  truth;  but 
who  on  earth  would  ever  expect  an  actress  to  have 
real  jewels.^  {Saunders  eying  the  necklace  hun- 
grily.    Amy  enters.) 

Amy — 'Scuse  me.  Miss,  for  'ruptin',  but  ah 
can't  get  reply  out  o'  de  costumers  yo'  all  tol'  me 
to  call  up. 


60  BIRDS  OF  A  FEATHER 

Alice — What's  the  matter? 

Amy — Ah  dunno.    Dey  jes'  don'  answer,  dat's  all. 

Alice — Well,  get  on  your  things  and  run 
around  and  see  them.  Tell  'em  that  thing  must 
be  delivered  here  to-night. 

Amy — Yas'm.     {Exit.) 

Alice — Darn  these  people  anyway!  Never  on 
time  with  anything.  I'll  bet  they  never  get 
another  job  from  me. 

Saunders — {Looking  around.)  You  seem  to 
have  all  the  comforts  of  a  home  here — telephone, 
electric  light. 

Alice — Well,  why  not — I  pay  enough  for  the 
place. 

Saunders — {Taking  out  cigarette  case.)  Do 
you  mind  if  I  smoke.? 

Alice — I  should  say  not.  I'll  have  one  myself. 
You'll  find  the  matches  on  the  table. 

Saunders — {Going  to  table,  picks  up  box  of 
matches  and  hides  it  in  his  pocket.)  I  can't  seem 
to  see  any. 

Alice — I'll  bet  that  darned  girl  has  forgotten 
them  again.  Wait  a  minute.  I'll  get  some  in 
the  other  room.     {Exits  quickly.) 

{As  soon  as  she  has  left,  Saunders  takes  pliers 
out  of  pocket  and  quickly  disconnects  telephone 
wires,  hiding  ends  so  they  cannot  he  seen.) 


ACT  III  61 

'  Alice — {Re-enters.)  Here  we  are.  {Lights 
match,  holds  it  to  his  cigarette,  then  lights  her  own.) 

Saunders — {Seats  himself  on  sofa  and  pulls 
her  down  beside  him.)  We  might  as  well  be 
comfortable  while  we  finish  our  chat. 

Alice — Fm  willing. 

Saunders — Before  I  go,  I  want  to  sign  con- 
tracts with  you — merely  optional  ones,  you 
understand — in  case  the  new  play  fails.  IVe 
got  some  all  ready  in  my  pocket.  {He  slyly 
slips  clasp  of  necklace,  so  that  when  she  gets  up  it 
will  fall  to  the  floor.) 

Alice — Yes,  —  all  right — but  what  about 
salary? 

Saunders — Anything  within  reason — and  your 
name  in  big  letters  all  over  the  place. 

Alice — ^Three  hundred  a  week — and  traveling 
expenses. 

Saunders — You're  on.  {Rises,  crosses  to  table — 
she  follows  him — the  necklace  drops  to  floor.)  Put 
your  name  to  these.     {Pulls  papers  out  of  pocket.) 

Alice — Not  without  reading  them — no,  sir. 
I  was  caught  once  and  had  to  buy  shoes,  slippers 
and  tights. 

Saunders — {Drops  his  handkerchief  and  picks 
up  necklace  with  it.)  Oh,  all  right — look  'em  over 
to-night,  insert  the  salary  and  then  mail  'em  to 
me    to-morrow.     I'll    be    already    for    them    in 


62  BIRDS  OF  A  FEATHER 

Chicago.  Send  them  to  the  Princess  Theatre. 
{Looks  at  watch.) 

Alice — You  haven't  got  to  go  so  soon,  have 
you? 

Saunders — ^Just  time  to  catch  the  train. 

Alice — {Gets  his  coat.)  Vm  sorry.  I  thought 
you  would  stay  all  evening.  {As  her  back  is 
turned,  he  pockets  bundle  of  papers  that  Amy  has 
laid  there  early  in  the  act.) 

Saunders — When  I  get  back  from  Chicago, 
ril  stay  as  long  as  you  like. 

Alice — {Helping  him  on  with  his  coat.)  All 
right,  Mister  man.  If  you're  as  good  as  you 
look,  we'll  have  some  times  together. 

Saunders — {Putting  his  arm  around  her.) 
You  don't  mind  me  kissing  you  good-bye.^ 

Alice — Good    Lord,    man — no — I    like    it. 

{Kisses  him  heartily.) 

Saunders — Be  sure  and  send  contracts  to- 
morrow.    {Exits.) 

{After  he  has  gone,  Alice  goes  to  table,  lights 
fresh  cigarette  and  seats  herself  near  table,  placing 
her  feet  on  it.  After  a  moment,  there  is  a  knock  at 
the  door.  She  listens  a  moment,  then  rises  with  a 
pleased  look,  opens  door.  Howard  Knowles  enters 
quickly,  closing  and  locking  door  quickly  behind 
him.) 

Alice — YovJ 


ACT  III  63 

Knowles — Yes,  me.  Glad  to  see  me,  aren't 
you — not ! 

Alice — Where  did  you  come  from? 

Knowles — Now  that's  a  nice  welcome  for  a 
hungry  lover. 

Alice — What  do  you  want.^ 

Knowles — Well,  first  of  all,  I  want  a  kiss. 
{Attempts  to  embrace  her.) 

Alice — {Evading  him.)  Not  on  your  life.  I 
told  you  in  London,  when  I  left  you,  I  was 
through  with  you  for  good. 

Knowles — I  know  you  did,  but  I  didn't  tell 
you  I  was  through  with  you. 

Alice — How  did  you  ever  dare  to  come  back 
to  New  York.?  If  the  police  get  onto  you,  you'll 
get  four  or  five  years — or  more — for  the  old  game. 

Knowles — Yes,  but  the  police  aren't  going  to 
get  onto  me.  Oh,  you  don't  dare  let  on  I'm  here, 
for  as  sure  as  I'm  sent  up,  you'll  go  with  me.  You 
had  your  share  of  the  loot  all  right — you're  an 
accomplice. 

Alice — What  do  you  want.?     Money? 

Knowles — You  bet. 

Alice — How  much? 

Knowles — Well,  a  thousand  will  do  right  now. 

Alice — ^You're  crazy!  Where  would  I  get  a 
thousand  dollars? 


64  BIRDS  OF  A  FEATHER 

Knowles — From  the  new  lover — the  one  who 
just  left  here.  Play  him  for  a  sucker — ^just  as 
you  did  me. 

Alice — Not  much.  He's  nothing  to  me.  He's 
a  theatrical  manager  looking  for  a  new  face  to 
feature. 

Knowles — Sell  the  pearls  you  bought  with 
my  five  thousand. 

Alice — {Instinctively  putting  hand  to  throat.) 
Not  much!  {Frightened  pause  —  in  whisper.) 
My  God!  Where  are  they — I  had  'em  on. 
{Hastily  looks  about  on  floor,  on  couch,  etc.) 

Knowles — Come  on — none  of  that  comedy 
business — no  bluff — you  know  where  they  are 
all  right. 

Alice — {Paying  no  attention  to  him.)  I  tell  you 
I  had  'em  on  not  ten  minutes  ago.  {Looks  at 
him  angrily.)  You  dirty  dog!  You  stole  them 
off  my  neck  when  you  tried  to  kiss  me.  Give 
'em  back  or 

Knowles — Give  them  back!  {Angrily.)  Look 
here — what  do  you  think  I  am,  a  baby?  Those 
hard-luck  tales  don't  go  with  me.  I  might  have 
been  easy  several  years — but  no  more.  I  haven't 
seen  your  pearls. 

Alice — You  lie!  Give  'em  up  or  I'll  call  the 
police.     {Starts  for  ^ phone.) 

Knowles — {Stops    her  forcibly,    knocking    the 


ACT  III  65 

fnd  of  the  cut  wires  to  floor  as  he  does  so.)  Don't 
you  do  it,  you  devil! 

Alice — {Seeing  cut  wires.)  My  God!  I  sec 
your  game,  you  coward!  {Throws  piece  of 
bric-a-brac  through  the  window.) 

Knowles — {Grabs  her  arm  just  too  late,  and 
swings  her  around,  away  from  window.)  If  that 
brings  anybody  up  here,  and  you  squeal,  Til 
choke  the  life  out  of  you.  {Grasping  her  throat.) 
Are  you  going  to  give  me  away? 

Alice — {Faintly.)     No. 

{There  is  a  knock  at  the  door.  They  both  stand 
absolutely  silent.  Knowles  points  revolver  at  door. 
A  louder  and  more  insistent  knock  is  heard.  Knowles 
looks  around  quickly,  sees  portieres  leading  to  next 
room — motions  for  her  to  reply.  He  sneaks  over 
quietly  toward  portieres.) 

Alice — Well — what  is  it.? 

Officer  Flani^ag an— {Outside.)      Lemmc  in. 

Alice — I'm  not  dressed  yet.     Wait  a  moment. 

Knowles — {In  a  whisper.)  Vm  going  to  hide 
here — if  you  squeal,  I'll  do  you  first  and  him 
afterwards.     {Hides  behind  curtains.) 

Flannagan — {Pounding  on  door  with  his  club.) 
Open  the  door  or  I'll  bust  it  in! 

Alice — {Hastily  throws  a  dressing  gown  over 
her  dress  and  goes  to  door,  throwing  it  open.) 
Come  in. 


66  BIRDS  OF  A  FEATHER 

Flannagan — {Enters,  revolver  in  hand.)  What*s 
the  matter? 

Alice — (Hesitates.)     Why — nothing — now. 

Flannagan — Well,  what  was  the  matter? 

Alice — Some  one  stole  some  of  my  jewels. 
(Pointing  to  telephone.)  When  I  tried  to  call  up 
the  office,  I  found  the  wires  had  been  cut. 

Flannagan — (Looking  at  'phone.)  Clever 
work — a  getaway. 

Alice — What's  a  "getaway"? 

Flannagan — The  work  of  a  slippery  profes- 
sional who  makes  his  plans  to  get  away  before  he 
starts  his  job.  (Looks  around  the  room.)  Which 
way  did  he  go? 

Alice — Who? 

Flannagan — Why,  the  feller  that  stole  the 
stuff. 

Alice — I  don't  know  who  stole  it. 

Flannagan — Well,  I'll  search  the  place. 

Alice — No  need  of  that.  I've  been  all  through 
the  rooms  since  I  missed  them. 

Flannagan — What'd  he  get? 

Alice — A  string  of  pearls — worth  about  five 
thousand  dollars. 

Flannagan — Whew!  Where  were  you  when 
you  missed  'em? 

Alice — Right  in  this  room.  I  was  talking 
to 


ACT  III  (n 

Flannagan — Oh,  you've  had  visitors,  eh? 
Who  was  it? 

Alice — {Nervously — seeing  the  curtains  move  a 
bit.)  Why,  a  Mister  Reynolds,  from  Chicago — 
a  theatrical  manager.  He's  too  much  of  a 
gentleman. 

Flannagan — Gentleman  ?     Hu ! 

Alice — (Indignantly.)  I  tell  you  it  couldn't 
have  been  him.  He  was  admiring  the  necklace 
just  before  he  went  away. 

Flannagan — Did  you  miss  'em  right  after  he 
went? 

Alice — Not  right  away — I  missed  'em  while  I 
was  talking  to 

Flannagan — ^To  who? 

Alice — {Seeing  curtains  move  again.)  To  my 
maid. 

Flannagan — Oh,  the  maid,  eh?     Wher's  she? 

Alice — Gone  out  on  an  errand.  She'll  be  back 
pretty  soon. 

Flannagan — Where'd  ye  meet  this — manager 
gentleman  ? 

Alice — Down  in  one  of  the  theatrical  managers' 
offices.  I  was  just  coming  out  and  he  was 
passing  through  the  hall.  We  bumped  into  each 
other — he  apologized  and — well — after  some  con- 
versation we  went  to  dinner  together,  and  he's 
seen  me  several  times  since. 


6S  BIRDS  OF  A  FEATHER 

Flannagan — Did  you  wear  those  pearls  any 
time  he  met  you  ? 

Alice — Always.  I'm  never  without  them. 
They're  good  advertising. 

Flannagan — How  do  you  know  he's  a  theat- 
rical manager.^ 

Alice — Didn't  he  offer  me  a  job  at  a  big  salary.? 

Flannagan — Did  that  prove  him  a  manager.? 

Alice — (Indignantly.)  Of  course  it  did.  He 
knew  a  good  thing  when  he  saw  it. 

Flannagan — Hml  (Taking  photo  out  of  his 
pocket.)     What  did  he  look  like.? 

Alice — Oh — he  was  tall  —  dark  —  smooth-faced 
and 

Flannagan — (Handing  her  photograph.)  Did 
he  look  anything  like  that? 

Alice — Why,  yes — that's  him!  (Excitedly.) 
Where'd  you  get  it? 

Flannagan — Well,  you're  stung  good.  That's 
Jimmy  Saunders — gunman — one  of  the  slickest 
thieves  in  the  country.  He  studies  his  intended 
victim  like  he  was  goin'  t'  college.  Can  give  any 
line  of  talk.  A  college  graduate.  First  heard  of 
about  six  years  ago  up  on  Lake  George.  He  sure 
has  been  putting  some  stuff  over  lately — but  we 
can't  get  the  goods  on  him.  He's  been  too  slick 
for  us. 

Alice — (Almost    crying.)     Do    you    mean    to 


ACT  III  69 

say  that  man's  a  thief?  What  about  the  con- 
tracts he  left  for  me  to  sign  ? 

Flannagan — Where  are  they? 

Alice — (Getting  them  from  table.)  Here. 
{Opens  one  to  read — shrieks.)  Oh — these  aint 
contracts — they're  a  receipt  for  my  pearls — he 
knew  he'd  get  'em  when  he  came.  {Cries.) 
Oh,  what  will  I  do — what  will  I  do? 

Flannagan — I'll  report  the  matter  to  head- 
quarters and  as  soon  as  we  can  find  a  trace  of 
them,  I'll  let  you  know.  {Takes  out  notebook.) 
What's  your  name? 

Alice — Alice  Winslow. 

Flannagan — What's  your  business? 

Alice — I'm  on  the  stage — burlesque  business. 

Flannagan — Living  here — alone? 

Alice — {Indignantly.)  Of  course — with  my 
maid. 

Flannagan — How  long  has  she  been  with  you  ? 

Alice — About  three  months. 

Flannagan — Pearl  necklace — worth  about  five 
thousand  dollars.  {Is  busily  looking  at  room  and 
writing  in  book.)  Visitor  called  himself  Reynolds 
— theatrical  manager — looks  like  picture  of  Jimmy 
Saunders — telephone  wire  cut — made  a  get- 
away. ( Turning  to  her.)  Did  you  notice  whether 
he  wore  gloves  ? 


70  BIRDS  OF  A  FEATHER 

Alice — {Thinking  hard.)  Why,  yes,  I  did 
notice  that  he  never  took  them  off — why? 

Flannagan — Ha!  Didn't  want  to  leave  any 
finger  prints.  {Writing  in  notebook^  then  closing 
it.)  Well,  I  can't  do  any  more,  lady.  I'll  be 
going. 

Alice — Will  you  have  a  drink  before  you  go.? 

Flannagan — Well — I  got  a  bad  cough — I 
don't  mind  if  I  do. 

Alice — {Gets  decanter  and  glass.)  Help  yourself. 

Flannagan — {Pouring  himself  out  a  large 
drink — holds  it  up  to  light.)  Here's  to  you. 
{Drinks.) 

Alice — {Crying  again.)  Well,  there's  one  con- 
solation— I  was  robbed  by  a  gentleman  anyway. 

Flannagan — Well,  wouldn't  that  get  you! 
You  women  are  all  alike.  If  some  old  bum  had 
robbed  you,  it  would  have  been  murder — but  if 
some  swell  guy  does  the  trick,  it's  just  a  social 
call.  Good  night,  lady.  I  hope  we  get  track 
of  them  jewels. 

Alice — If  you  do — {Handing  him  money.) 
Here's  a  little  bit  on  account. 

Flannagan — {Taking  money.)  Lady,  I'm  glad 
to  accept  your  insult.     {Exit.) 

{After  the  door  is  closed,  Knowles  comes  from 
behind  curtain.  Laughs  and  throws  himself  in  a 
chair.     She  stands  gazing  at  him  indignantly.) 


ACT  III  n 

Knowles — (Laughing,)  So,  you  were  the 
sucker — a  gentleman  burglar — and  you  an  actress. 
Ha,  ha!     He  put  one  over  that  time. 

Alice — Don't  rub  it  in.  Now  I've  kept  my 
word  and  didn't  give  you  away,  what  do  you 
want  ? 

Knowles — My  wants  are  just  the  same  as  they 
were  a  few  minutes  ago — money. 

Alice  —  I  haven't  got  much  left.  I'll  give 
you  what  I  can.  (Opens  drawer  to  desk  and 
takes  out  small  roll  of  bills.)  Here's  twenty-five 
dollars — that's  all  I  can  spare.  If  I  get  those 
pearls  back  I'll  give  you  five  hundred  dollars 
—  if  you'll  promise  to  go  away  and  let  me 
alone. 

Knowles — For  a  thousand  I'd  promise  any- 
thing. 

Alice — Well,  you  won't  get  a  thousand. 

Knowles — Oh,  yes,  I  will.  I  need  it.  There's 
something  else  I  need  too,  come  to  think  of  it. 
What  did  you  do  with  that  old  trunk  of  mine  we 
left  in  storage  here  1 

Alice — ^Threw  it  away.  I  had  Amy  clear 
everything  out  of  it — there  was  nothing  but  a 
bunch  of  old  clothes 

Knowles — What  became  of  the  papers  that 
were  in  it.'^ 

Alice — Oh,  Amy  saved   something — she   had 


72  BIRDS  OF  A  FEATHER 

it  here  a  while  ago.  {Looks  on  table  for  them.) 
They  were  here  a  few  minutes  ago. 

Knowles — Well,  if  they're  lost,  there'll  be 
hell  to  pay.     Do  you  know  what  they  were.-* 

Alice — No,  how  should  I  ."^  I  never  looked  at 
them. 

Knowles- — One  of  them  was  a  real  marriage 
certificate — the  other  a  paper  giving  me  the 
rights  to  as  pretty  a  bit  of  oil  land  as  you  could 
ever  find  anywhere. 

Alice — A  marriage  certificate! 

Knowles — Yes — mine  and  Rose  Noble's. 

Alice — But  you  told  me  you  weren't  married 
to  her. 

Knowles — Yes,  I  told  her  the  same  thing-— 
you  both  believed  it- — but  I  am,  just  the  same. 
I  need  money  to  hunt  her  up — I've  got  to  have 
another  signature  from  her  before  I  can  get  hold 
of  that  property.  It  belonged  to  her — but  as 
long  as  she's  my  wife — it  belongs  to  me,  too— see. ^ 

Alice — -Is  there  any  money  in  it.^ 

Knowles — You  don't  suppose  I'd  be  looking 
for  her  if  there  wasn't,  do  you.^ 

Alice— Where  do  I  come  in  if  you  find  her — 
and  get  the  money.? 

Knowles — Same  as  before,  if  you  like. 

Alice — Not  on  your  life!  I've  had  one  taste  of 
you— that  will   last   me  for  a   long,   long  time. 


ACT  III  73 

If  you'll  promise  me  a  third  of  what  you  make 
out  of  it — ril  see  that  you'll  find  her. 

Knowles — Do  you  know  where  she  is  ? 

Alice — I  may — Vm  not  saying  until  we  come 
to  some  agreement. 

Knowles — Yes — but  where  are  the  papers.^ 

Alice — Oh — they're  all  right.  Amy  probably 
put  them  away  somewhere. 

Knowles — If  you'll  help  me  to  find  Rose, 
I'll  agree  to  your  terms — one-third  of  the  profits 
and — a  new  pearl  necklace. 

Alice — Good. 

Amy — (Enters.)  Mah  goodness,  Missie — ah's 
'fraid  you  all  ain'  nevah  goin'  t'  git  dat  dress. 

Ai^iCE — Why  not.^  {Knowles  recognizes  Amy 
and  keeps  his  back  to  her.) 

Amy — 'Cause,  dem  dress  makah's  done  gone 
on  a  strike. 

Alice — {Furious.)     More  bad  luck! 

Amy — Yas'm.  De'  done  pahmed  out  yo'  dress 
to  some  one  else  dat  was  t'  deliber  it  back  to  'em 
to-night — but  ain'  did  so. 

Alice — Couldn't  you  get  the  address  of  this 
person  ^ 

Amy — Yas'm — ah  did.  Dey's  somethin'  famil- 
iah  'bout  it,  too.  {Takes  dirty  piece  of  paper  from 
her  pocket  and  reads  with  difficulty.)  23  Rivington 
Street — Mrs.  Edwards. 


74  BIRDS  OF  A  FEATHER 

Alice — Tell  'em  down  at  the  office  to  get  me  a 
taxi.     Vm  going  down  there  myself. 

Amy — Yas'm.     (Starts  for  telephone.) 

Alice — You  can't  use  the  telephone — it's 
broken.     Go  downstairs,  or  tell  the  elevator  boy. 

Amy — Yas'm.  (Turns,  and  as  she  does,  she 
sees  Knowles.)  Ma  goodness!  (Giggles.)  Ah 
didn't  know  we  hed  company. 

Alice — There  are  a  lot  of  things  you  don't  know. 

Amy — (Looking  intently  at  Knowles.)  Yas'm — 
ah  knows  dey  is.  (Working  around  so  as  to  see 
his  face.)  Dey's  a  lot  ob  tings  ah  don'  wan'  to 
know  neither — but  dey's  some  ah  does.  Seems 
to  me  ah  seen  dat  back  befoh  so  ah's  a-goin'  t'  see 
dat  face  befo'  ah  goes  anywah's.  Tu'n  roun' 
heah  man — lemme  see  yo'  face.  (Knowles  turns 
and  faces  her.)  Mah  Gawd!  Ah  knows  you! 
You  is  Mistah  Howard  Knowles! 

Knowles — (Holding  out  his  hand  to  her.)  How 
are  you.  Amy? 

Amy — (Indignantly.)  How  is  ah?  How  is  ah? 
White  man — don'  you  dah  ask  me  how  is  ah? 

Knowles — (Nervously.)  Why,  what's  the  mat- 
ter with  you? 

Amy — Mattah  wid  me!  Huh!  Dey  aint 
nothin'  de  mattah  wid  me.  Ah  jes  don'  caah 
fo'  yo'  company,  dat's  all. 

Alice — ^Amy,  how  dare  you  talk  like  that? 


ACT  III  75 

Amy — Look  hyah,  woman — don'  you  all  git  me 
riled.  I'se  a  bad  niggah  when  my  spunk  is 
touched  up.  Does  you  all  know  what  dat  man 
done.^  He's  de  man  ah  uster  wuk  foh — de  man 
what  run  away  an'  leave  he's  wife  all  alone  by 
huhse'f — ^jes'  when  he  wuz  needed  mos'.  He's 
dat  Howard  Knowles  dat  leave  his  pretty  little 
wife  to  shif  foh  huhse'f  an  run  off  wid  anuddah 
woman.  {Sharply  inspects  Alice.)  Look  hyah! 
Is  you  all  dat  woman  .^ 

Alice — {Sharply.)  Amy!  How  dare  you  talk 
like  this.? 

Amy — How  dah  ah.?  Huh!  Ah  done  ask 
you  a  question,  an  ef  yi'  don'  cah  to  answer, 
dat's  yo'  business — but  ah  knows  dat  ah  has 
mah  s'picions.  {With  great  scorn.)  Dis  heah 
man,  he  aint  no  good  a'tall.  He's  a  bahd  t^g^ 
an'  ah  don'  care  to  wuk  fo'  no  lady  what  has  him 
a-hangin'  'roun'.  Ah  guess  you  all  kin  git  'long 
widout  me,  so — good  night.     {Starts  to  go.) 

Alice — Wait  a  moment.  Where  are  those 
papers  you  showed  me  early  in  the  evening — the 
ones  you  got  out  of  that  old  trunk — the  ones  that 
were  addressed  to  Mr.  Knowles.? 

Amy — Ah  laid  'em  on  dat  table. 

Howard — Well,  they  aren't  there  now. 

Amy — Ah  don'  cah  whah  dey  is.  {Starts  to  go 
again.) 


76  BIRDS  OF  A  FEATHER 

Knowles — {To  Alice.)  She  mustn't  get  away 
unless  she  tells  about  those  papers. 

Alice — Amy!  Stop!  .You  haven't  told  me 
why  you  hid  those  papers. 

Amy — Ah  nevah  hid  dem  papahs.  Ah  laid 
dem  down  on  dat  table  'cause  ah  was  goin'  to 
throw  dem  away,  jes  es  you  tole  me  to  do.  If 
dey  is  gone — you  done  took  'em  yo'  se'f.  Ah'm 
goin'  away  f um  heah  an'  ah  don't  wan'  to  be 
stopped  no  moh.  {Looking  reproachfully  at  Alice,) 
Ah  suah  did  think  yo'  wuz  a  la-dy,  even  if  you 
has  got  a  little  spo'tin'  blood  in  you.  But  ah 
caint  fo'get  dat  dis  heah  man  done  lef  his  pretty 
little  wife— all  alone — ^jes'  when  she  needed  him 
mos'.  An'  ah'  don'  want  to  'membah  dat  yo* 
wuz  de  cause  of  him  doin'  hit,  either,  case  if  ah 
does  'membah  dat,  I'm  liable  to  clean  out  de 
place.  I'm  black,  an'  I'm  Lady's  Maid  to  a 
Spo'tin'  Queen — but  ah's  white  compared  to 
you  two.     {Exit.) 

Knowles — {Quickly  goes  to  outside  door  and 
locks  it.)  Tell  her  to  come  back  this  way  before 
she  goes  out. 

Alice — What  for.^ 

Knowles — I'm  going  to  see  whether  she's  got 
those  papers.  I'll  bet  she  read  them  and  saw 
what  they  were — that's  the  reason  she's  so 
anxious  to  get  away.     {Scornfully.)     Bless  yoiir 


ACT  III  n 

heart,  it  isn't  because  she's  afraid  of  being  con- 
taminated by  association  with  you  and  me:  it's 
because  she  has  a  reason  to  get  away.  I'd  bet 
a  thousand  dollars — if  I  had  it — she  knows  where 
my  wife  is. 

Alice — Nonsense ! 

Knowles — Make  some  excuse  to  get  her  back 
here. 

Alice — All  right.     {Calls:)     Amy! 

Amy — {Offstage.)     What  'sha  want. ^ 

Alice — Come  in  this  way  before  yoii  go.  {No 
answer.)     AMY! 

Amy — {Off  stage.)     All  right,  ah  will. 

Knowles — Good.  When  she  comes  in,  get 
between  her  and  that  door,  and  I'll  cover  this  one. 
If  I  don't  scare  her  to  death,  I'll  know  the  reason 
why.  {Amy  enters,  carrying  a  telescope,  fully 
packed,  her  hat  on.) 

Amy — Now,  what  kin  ah  do  foh  you  befo'  ah 
goes  t 

Knowles — {Standing  in  front  of  door  to  hall 
— with  revolver  in  hand — points  it  at  her.)  You 
can  hand  over  those  papers. 

Amy — {Bursts  into  a  roar  of  laughter.)  Ha,  ha ! 
Dis  is  de  funnies'  ting  ah  evah  done  see  in  mah 
life!  Ha,  ha!  {Sobering  up.)  Didn't  ah  tell 
yo'  ah  hadn'  seen  no  papahs.?  Well,  believe  me 
when  ah  tells  yo'dat. 


78  BIRDS  OF  A  FEATHER 

Knowles — Alice — go  through  her  telescope. 

Amy — (Softly,  but  with  a  growing  anger.)  Alice, 
don't  you  do  nothin'  of  de  kind.  Ef  yd*  does,  ah 
shuah  staht  somethin'  'roun'  heah! 

Knowles — Come  on,  don't  be  afraid. 

Amy — No,  cou'se  not — don'  be  'fraid.  Come 
on  an'  try  an'  take  dis  heah  satchel  away  f'um  me. 
{Angrily  to  Knowles.)  Look  heah,  white  man, 
I'se  gettin'  riled,  ah  is!  Ef  you  all  don'  put  dat 
little  popgun  in  yo'  pocket,  ah  suah  is  goin'  to 
take  hit  away  from  you!  Start  somethin',  why 
don'  you.^  Go  on  an'  shoot.  {Laughs  boister- 
ously.) Mah  Gawd!  Ef  dis  ain'  de  funnies'! 
{Seriously.)  Git  out  o'  mah  way  yo'  poh  fool! 
I'll   brek  yo'   in   two   pieces.     {Starts  for  door.) 

Foh   Gawd's   sake Ha,    ha!      Try    to    scare 

me  wid  a  popgun.  {Goes  close  to  Knowles.)  Yo' 
po'  little  excuse  foh  a  man.  {Takes  his  gun  hand 
and  pulls  pistol  away.)  Gimme  dat!  Yo'  might 
hu't  yo'se'f.  {Laughs  heartily  again — opens  door.) 
Lemme  tell  you  one  ting,  people.  Don'  you 
nevah  try  fo  to  scah  a  niggah  what  lives  in  San 
Juan  Hill  wid  a  little  nickel-plated  popgun.  We 
eats  dem  foh  suppah  ev'y  night.  {Exits,  laugh- 
ing. Knowles  and  Alice  stand  looking  at  each 
other  for  a  moment.) 

Alice — She  bluffed  you,  didn't  she.? 


ACT  III  79 

Knowles — {Shamefacedly.)  Oh,  I  didn't  want 
to  hurt  her. 

Alice — Rats!  You  were  scared  stiff — and  you 
know  it. 

Knowles — Well,  maybe  I  was — but  that  hasn't 
found  the  papers  for  me.     I  must  have  'em. 

Alice — I'll  bet  the  man  who  took  my  pearls 
has  'em.     If  he  has,  good-night. 

Knowles — {Angrily.)  I  know  how  I  can  get 
them. 

Alice — How.^ 

Knowles — Paying  for  information  as  to  where 
he  can  be  found. 

Alice — Where  will  you  get  the  information.^ 

Knowles — Leave  it  to  me.  You  furnish  the 
money.     I'll  do  the  rest. 

Alice — How  much  will  you  need.^ 

Knowles — I  don't  know,  yet.  {Knock  on  the 
door  to  hall.) 

Alice — What  is  it.? 

Voice — {Outside.)  There's  a  cab  waitin*  down- 
stairs for  you. 

Alice — I  forgot  all  about  that  costume. 
{Calling  through  door.)     All   right,   I'll   be  down. 

Knowles — Where're  you  going.? 

Alice — {Wrapping  cloak  around  her.)  23  Riv- 
ington  Street — Mrs.  Edwards. 


80  BIRDS  OF  A  FEATHER 

Knowles — Good.  That's  my  direction,  too. 
ril  go  with  you.  I'll  get  the  information  I  want 
down  there.     Come  on. 

{Catches  up  coat  and  hat,  and  both  exit.) 
CURTAIN 


ACT   IV 

Scetif — A  poorly  furnished  room  in  a  tenement 
house  on  Rivington  Street,  New  York  City.  The 
walls  are  hare,  the  furniture  old,  hut  everything  has 
an  air  of  cleanliness.  There  is  a  screen  in  one 
corner  of  the  room  hiding  a  hed.  A  window  up 
stage  looks  out  on  a  dimly-lighted  air  shaft.  A 
sewing  machine  is  placed  in  front  of  window  so  as  to 
get  the  fast  fading  light.  The  room  is  lighted  hy 
means  of  a  lamp,  which,  as  the  curtain  goes  up,  is 
discovered  on  table,  down  stage. 

Time — Same  as  the  preceding  act.  The  light 
fades  in  window  as  the  action  proceeds,  and  the  time 
passes  in  such  a  way  as  to  show  how  Saunders  can 
come  from  Alice  Winslow's  hotel  to  this  street 
without  an  effort  of  haste. 

Discovered — Rose  Noble,  at  sewing  machine;  her 
head  is  resting  on  the  machine,  as  though  she  had 
fallen  asleep  over  her  work.  After  a  moment  there  is 
a  loud  knock  on  the  door.  Another  pause,  followed 
hy  another  knock,  more  insistent.  Rose  awakens 
with  a  start,  looks  around,  startled.  The  knock  is 
repeated — this  time  very  loudly.  Rose  quickly  rises, 
goes  to  the  door  and  throws  it  open, 
81 


82  BIRDS  OF  A  FEATHER 

Rose — Come  in.  I'm  sorry  to  have  kept  you 
waiting,  but  I  must  have  dropped  off  to  sleep. 

{Enters  Morris  Goldmann^  the  landlord  of  the 
tenement.  He  is  a  richly  dressed  man  of  the  Jewish 
type — crude — even  brutal.) 

GoLDMANN — Good  evening.  I  called  to  see 
whether  you've  got  that  money  for  my  rent  yet. 

Rose — I'm  sorry 

GoLDMANN So'm  I. 

Rose — I  told  Mr.  Beeman,  the  janitor,  I'd 
have  it  for  you  to-morrow. 

GoLDMANN — Yes,  and  you've  told  Mr.  Beeman 
lots  of  times  before  you'd  have  it  *' to-morrow" — 
and  you  haven't  got  it  yet. 

Rose — You  see,  Mr.  Goldmann — I — I — I  have 
just  been  able  to  get  some  work  to  do.  It  will  be 
finished  to-night  and  delivered  to-morrow,  and 
then  I'll  be  able  to  pay  you  all  there  is  coming 
to  you.  Just  give  me  until  then — I'll  surely 
have  it. 

Goldmann — {Brutally.)  I  don't  know  whether 
you  will  nor  not.  I've  heard  these  hard-luck 
stories  so  many  times.  You  wouldn't  think  it, 
maybe,  but  I'm  a  charitable  man  myself,  but  I 
can't  afford  to  keep  an  expensive  apartment 
house  like  this  going,  unless  my  tenants  pay 
me  my  rent.  You're  three  weeks  behind  now- — 
how  do  I  know  you're  going  to  pay  mc.^ 


ACT  IV  83 

Rose — Oh!  Why  see,  here's  the  dress  Fm 
working  on — it's  almost  done.  I've  been  up  all 
last  night  working,  working,  all  the  time,  just 
to  get  it  done. 

GoLDMANN — (Looking  at  dress — grins.)  That's 
what  you  ought  to  be  wearing,  my  dear.  Silks 
and  satins  and  diamonds,  and  eating  in  the  big 
restaurants  on  Broadway,  and  riding  around  in 
your  automobile  and 

Rose — {Sadly  smiles.)  I'm  afraid  that  is  not 
for  me,  Mr.  Goldmann — not  until  I  earn  a  great 
deal  more  money. 

Goldmann — ^That's  what  I've  come  to  see  you 
to-night  about,  my  dear. 

Rose — {Puzzled.)     I  don't  understand. 

Goldmann — I  can  show  you  how  you  can  do 
all  these  things — now — without  waiting.  I'll  make 
you  a  business  proposition. 

Rose — A  business  proposition.^ 

Goldmann — {Coming  closer  to  her.)  Sure.  You 
don't  like  to  live  down  here — even  in  my  stylish 
apartment  house — do  you.^ 

Rose — Not  very  well,  I'll  admit.  But  it's  the 
best  I  can  afford. 

Goldmann — I'll  take  you  out  of  it  and  put  you 
in  a  nice  flat  I  own  on  West  63d  Street,  if 

Rose — {Beginning  to  understand.)  Mr.  Gold- 
mann! 


84  BIRDS  OF  A  FEATHER 

GoLDMANN — Now  don't  get  mad.  It's  a  busi- 
ness proposition.  You're  a  fine  lookin'  woman — 
you  are  starving  yourself  to  death  down  here. 
There  aint  no  money  to  be  got  in  this  neighbor- 
hood by  a  gook-looking  girl  like  you — but  if  you 
go  up  on  63d  Street,  I'll  see  you  make  lots  of  it. 
All  you  got  to  do  is 

Rose — Stop!  I  don't  quite  understand  what 
you  are  offering  me,  but  I  have  a  suspicion.  If 
it  is  as  I  suspect,  I  don't  want  to  hear  any  more. 
If  you  are  offering  me  something  honorable,  don't 
beat  about  the  bush,  but  come  out  at  once  and 
say  what  you  have  to  say. 

GoLDMANN — Ah,  stop  your  nonsense.  You 
know  what  I  mean  well  enough,  but  if  you  want 
to  be  squeamish,  I'll  come  right  out  and  tell  you 
I'm  offering  you  a  chance  to  get  some  fat  on  your 
bones,  and  fill  the  hollow  places  in  your  cheeks; 
to  wear  some  real  clothes  instead  of  the  rags  you're 
wearing  now.  You  won't  have  to  work  at  all — 
all  you've  got  to  do  is  to  look  swell,  ride  around 
in  the  car  I'll  furnish  you,  and  be  a  real  lady. 

Rose — Do  I  understand  that  you're  offering 
to  marry  me? 

GoLDMANN — Good  God — no!  I  aint  the 
marryin'  kind.  I  don't  have  to.  What's  the  use 
of  marryin'  in  New  York  when  you  can  get  all 
the  comforts  of  a  home  without  it?     I'm  just 


ACT  IV  85 

sorry  for  you,  that's  all.  I  told  you  before  I  was 
a  charitable  man.  I  do  lots  of  charity  work  of 
this  kind. 

Rose — {Indignantly.)  Yes,  I've  heard  of  your 
kind  of  charity  before.  The  papers  are  full  of  it. 
The  world  is  full  of  it.  The  charity  men  of  your 
kind  do  is  the  charity  that  leads  to  hell  faster 
than  the  devil  himself.  Men  like  you,  Mr.  Gold- 
mann,  go  searching  through  the  dark  places, 
and  when  you  find  a  poor  soul,  not  lost,  but 
losing  the  fight  for  honesty  and  purity,  you, 
with  your  temptations  of  clothes,  brightness  and 
food,  seem  like  a  ray  of  light  to  many  of  them — 
and  they  go  with  you  to  enjoy,  for  a  brief  space 
of  time,  what  you  have  to  oflPer  them  in  the  way 
of  sin — only  to  be  thrown  aside  when  their 
freshness  is  gone  and  their  usefulness,  so  far  as 
filling  your  pockets  with  gold  is  concerned.  Yes, 
I  am  poor — I  am  starving — my  clothes  are  rags — 
I  do  owe  you  money  for  the  rent  of  this  miserable 
place  I  call  home,  but  so  long  as  it  is  my  home,  I 
can  do  as  I  like  in  it.  To-morrow  you  may  put 
me  on  the  street  if  you  wish,  but  to-night  this  room 
is  mine  and  I  tell  you  to  leave  it — now! 

GoLDMANN — My,  my!  What  a  spunky  little 
thing  she  is!  {Harshly.)  Well,  I'll  tell  you  one 
thing,  young  woman — you'll  get  out  of  this 
miserable  place,  as  you  call  it,  to-morrow  morning, 


86  BIRDS  OF  A  FEATHER 

unless  you  have  the  money  you  owe  me.  I  was 
offering  you  something  good. 

Rose — I  don't  want  to  hear  any  more  from 
you,  Mr.  Goldmann.  {Going  to  door  and  opening 
it.)     Go! 

Goldmann — Oh,  I'll  go  all  right.  But  I'll  get 
you  yet — some  way.     {Exits.) 

{Rose  sinks  down  at  machine^  crying.  It  grows 
darker^  and  when  she  finally  lifts  her  head,  she  rises, 
lights  the  lamp  and  places  it  on  machine,  and 
then  resumes  her  sewing.  There  is  a  moment's 
pause,  then  a  cautious  footstep  is  heard  outside 
the  door.  She  stops  and  listens.  After  a  moment 
she  resumes  work  again.  There  is  a  very  hesitat- 
ing knock  on  the  door.  Rose  pauses,  then  rises 
slowly  and  tip-toes  to  door — listetis — the  knock  is 
repeated.) 

Rose — {Without  opening  door.)     Who's  there .^ 

JiMMiE  Saunders — {Outside.)  I  want  to  speak 
to  Mrs.  Edwards. 

Rose — ^This  is  Mrs.  Edwards.     Who  are  you.^ 

Saunders — An  old  friend. 

Rose — I  haven't  any  old  friends. 

Saunders — Please  don't  keep  me  out  here. 
I've  got  to  talk  to  you  to-night.  It's  for  your  own 
good.     You'll  know  me  when  you  see  me. 

Rose — {Hesitates.)     Well {Opening  door.) 

Come    in.     {Saunders    enters.     He    has    changed 


ACT  IV  87 

his  dress^  and  is  now  much  more  quietly  ap- 
parelled) 

Saunders — {Quickly  locks  door  behind  him.) 
Don't  be  frightened. 

Rose — {Retreating  behind  table.)  What  do  you 
want  ? 

Saunders — {Standing  where  the  light  will  fall 
on  his  face.)     Don't  you  know  me? 

Rose — I  do  not. 

Saunders — Don't  you  remember  one  night, 
about  six  years  ago,  when  you  helped  a  man, 
hunted  down  by  other  men,  to  escape."* 

Rose — Perfectly. 

Saunders — I'm  that  man. 

Rose — {With  a  cry  of  delight.)  Oh,  at  last — at 
last!  After  all  these  years.  Oh,  why  didn't  you 
come  to  help  me  three  years  ago  when  I  sent  for 
you!  I've  waited  so  long.  I  thought  I  could 
rely  upon  your  word,  and  yet,  when  I  needed  you 
most,  you  failed  me — ^just  as  every  one  else  has 
done. 

Saunders — I  couldn't  help  it.  I  wasn't  at 
liberty  to  come — then.  The  letter  came  to  me — 
where  I  was — but  I  couldn't  take  a  chance  of 
communicating  with  you,  for  fear  it  would  get  you 
into  trouble. 

Rose — {Horror-stricken.)  Do  you  mean  to  say 
vou've  been  in  jail.? 


88  BIRDS  OF  A  FEATHER 

Saunders — {Looking  ashamed  of  himself.)  Yes. 
rhey  caught  me  with  the  goods,  and  gave  me  a 
short  term. 

Rose — Oh!     I  did  so  need  some  one  to  help  me. 

Saunders — I'm  here  to  help  you  now.  I  was 
going  to  leave  town  again  without  seein'  you,  but 
to-day  I  came  across  a  face  that  made  me  think 
of  you — and  I  felt — even  if  I  had  been  in  jail — 
you — you — might  be  willing  to  let  me  help  you  in 
some  way,  if  you  needed  it,  and  so 

Rose — Whose  was  the  face  you  saw  that  made 
you  think  of  me.^ 

Saunders — A  woman  who  was  up  at  the  lake 
the  summer  you  helped  me  escape. 

Rose — What  was  her  name.? 

Saunders — Alice  Winslow. 

Rose — That  woman!  Sometimes  I  think  I 
could  kill  her. 

Saunders — Has  she  injured  you.** 

Rose — The  worst  injury  one  woman  could  do 
another. 

Saunders — What  did  she  do.? 

Rose — Lied  about  me  to  her  lover — my 
husband. 

Saunders — Your  husband.?     Are  you  married.? 

Rose — {Burying  her  face  in  her  hands.)  I  don't 
know. 

Saunders — What!    I  don't  understand. 


ACT  IV  89 

Rose — ^The  very  night  you  left  Lake  George,  I 
left  also — to  be  married,  secretly,  to  Howard 
Knowles;  we  came  to  New  York  and  lived  here 
for  three  years — together — at  the  end  of  that 
time,  just — ^just — ^just  before  my — my  baby  was 
born,  he  told  me  we  were  not  married,  and  left 
me  alone — going  away,  as  I  afterwards  learned, 
with  Alice  Winslow.  She  was  the  only  one  who 
saw  you  in  my  home  that  night — she  must  have 

told  him,  for  he  accused  me  of — you Oh, 

how  can  I  tell  it?  He  accused  me  of  having  had 
a  lover  in  my  home  that  night!  He  accused  me  of 
having  had  a  lover  all  the  time  I  was  in  New 
York — the  same  one.  I  sent  for  you,  when  I  left 
our  New  York  home,  asking  you  to  come  and  help 
me  disprove  this  mad  fancy  of  his — but  I  never 
heard  from  you.  My — baby — died.  I've  been 
living  here,  trying  to  make  a  living  doing  sewing — 
ever  since,  Pve  always  hoped  you'd  come — not 
because  I  want  him  again,  but  because  you  prom- 
ised to  help  me — and  I  know  if  he  can  be  found, 
he  can  be  made  to  say  that  we  were  married — 
even  if  he  did  deny  it. 

Saunders — Poor  little  woman.  You've  had  a 
hard  time  of  it.  Didn't  you  have  anything  to 
prove  that  you  were  married  to  him.f* 

Rose — There  was  a  certificate — but  he  took  it. 
There  was  also  an  agreement  that  we  both  signed 


90  BIRDS  OF  A  FEATHER 

the  nigKt  I  went  away  with  him,  saying  that  he 
would  acknowledge  the  marriage  three  years 
from  that  time. 

Saunders — What  became  of  them? 

Rose — I  don't  know.  He  took  them  and  kept 
them  both.     I've  never  seen  them  since. 

Saunders — {Under  his  breath.)  Damn  him! 
(To  her.)     Where  is  he  now. ^ 

Rose — I  don't  know.  He  went  to  England. 
I  don't  think  he  has  returned. 

Saunders — Do  you  suppose  Alice  Winslow 
knows  where  he  is.** 

Rose — I  don't  know.     Why  do  you  ask. ^ 

Saunders — (Smiles.)  Because  I  had  a  very 
interesting  conversation  with  the  lady  this 
evening — early.  If  she  does  know,  I'll  find  out — 
some  way.  {Looks  at  her  queerly.)  Do  you  know 
the  man  who  came  in  to  see  you  just  before  I  did.^ 

Rose — He  is  the  owner  of  the  building. 

Saunders — What  did  he  want  here  this  time 
of  night.^ 

Rose — {Hangs  her  head.)     He — he 

Saunders — Do  you  know  what  his  real  busi- 
ness is.^ 

Rose — I  can  guess  it. 

Saunders— Are  you  under  any  obligation  to  him  ? 

Rose — I  am  behind  in  my  rent  a  little  bit — 
but  ril  pay  that  to-morrow. 


ACT  IV  91 

Saunders — I'd  not  have  much  to  do  with 
Goldmann.     I  know  him! 

Rose — So  do  I! 

Saunders — He's  a  bad  one — for  a  good  woman 
to  know.  {Quickly  changes  the  subject.)  Don't 
worry  any  more  about  your  troubles.  I'm  going 
to  be  right  near  you,  from  now  on,  and  if  we  can't 
find  out  all  about  your  husband,  it  won't  be  my 

fault.     I've  got  to  work  quietly {She  looks 

disappointed.)  Oh,  don't  look  like  that — please. 
I'm  going  to  help  you,  but  you've  got  to  let  me 
do  it  in  my  own  way.  I  know  what  you  think, 
but  this  time,  you're  wrong — I  can't  explain  just 
now,  but Here,  take  this  money! 

Rose — {Drawing  hack.)  Oh,  no,  I  couldn't. 
I  really  don't  need  it — I'll  have  plenty  to-morrow 
— after  this  dress  is  delivered. 

Saunders — ^Are  you  sure.'' 

Rose — {Faintly.)  Yes — sure.  {Knock  at  the 
door.  They  both  pause — startled.  Rose,  after  a 
momenfs  pause.,  goes  to  door. —  Well  ^  {Saunders 
goes  behind  screen  and  motions  her  not  to  make  his 
presence  known.) 

Alice  Winslow  —  Does  Mrs.  Edwards  live 
here.? 

Rose — {Opening  door.)  I  am  Mrs.  Edwards — 
come  in. 

Alice — {Entering.)     I'm    looking   for    a    dress 


92  BIRDS  OF  A  FEATHER 

that  was  given  to  you  by  my  costumers  to  finish. 
It  was  promised  for  to-night 

Rose — It's  almost  finished — I  was  working  on 
it  now — it  was  not  to  be  delivered  until  to- 
morrow morning. 

Alice — (Looking  closdy  at  her.)  Why — well 
kick  me  quick,  if  it  isn't 

Rose — {Recognizing  Alice.)     You! 

Alice — Me!  This  is  a  surprise — for  both  of 
us — but  Fve  got  a  bigger  one  for  you  in  about  a 
minute. 

Rose — What  do  you  want  with  me.^ 

Alice — I  want  a  whole  lot!  I  didn't  come  here 
to  find  Mrs.  Howard  Knowles — not — but  I  did 
come  for  a  dress — now  that  I  do  find  you  instead 
of  Mrs.  Edwards,  there  are  several  things  we 
will  want  to  talk  about  before  we're  through. 

Rose — I  don't  care  to  talk  about  you  at  all. 

Alice — Oh,  it  isn't  about  me,  we'll  talk — it's 
about  you — you  and  the  pal  you  had  six  years  ago.  • 

Rose — I  had  no  "pal"  six  years  ago. 

Alice — What   about   the   man   you   had   con- 
cealed in  your  bed  the  night  I  called  to  see  you? 
Wasn't  he  a  crook  .^ 
j;J;RosE — I  have  nothing  to  say. 

Alice — Wasn't  he  the  man  who  had  been  rob- 
bing the  hotels  in  the  neighborhood  during  the 
summer.^ 


ACT  IV  93 

Rose — What  right  have  you  to  question  me 
in  this  way? 

Alice — Oh,  you'll  see  the  right  in  a  few  min- 
utes. Wasn't  he  the  man  who  was  the  father  of 
your  baby? 

Rose — Stop!  You  devil!  How  did  you  know 
I  had  had  a  child?  You  blot  on  the  face  of  the 
earth!  You  wicked,  horrible  woman!  You  rob- 
ber of  all  that  is  good  and  pure  in  womanhood — 
you  stealer  of  other  women's  husbands — how  dare 
you  come  here  to  me  and  ask  me  these  things? 
How  dare  you,  I  say?  You,  who  stole  my  hus- 
band from  me — for  what  reason,  God  knows — you 
thief  in  the  night,  who  robbed  me  even  of  my  good 
name  by  telling  my  husband  of  something  I  had 
done  out  of  pity — and  you — with  your  evil  mind — • 
misconstruing  it  into  something  evil  like  yourself. 

Alice — {Suddenly  sees  cane  that  Saunders  has 
left  on  top  of  table.)  Wait  a  minute.  {Picks  up 
cane.)     Where  did  this  come  from  ? 

Rose — {Startled.)     I— I 

Alice — {Going  to  door.)  Come  up  here,  you 
two — I've  got  a  friend  I  want  you  to  meet. 
{Enter  Howard  Knozvles  and  Policeman  Flannagan.) 

Rose — {Seeing  Howard.)     My  husband ! 

Knowles. — Rose ! 

Alice — You  claim  every  man  for  your  husband. 
Officer,   you   aiw   looking  for  Jimmie   Saunders, 


94  BIRDS  OF  A  FEATHER 

aren't  you  ?  Well,  I  didn't  bring  you  here  to  find 
him,  but  merely  for  protection,  but  now  that  you 
are  here,  I  think  I  can  tell  you  that  the  man  you 
are  looking  for  is  here  in  this  house,  or  has  been 
here  to-night. 

Flannagan — How  do  you  know? 

Alice — (Pointing  to  cane.)  Here  is  the  very  stick 
he  carried  when  he  called  on  me  this  afternoon! 

Flannagan — (Picks    up    cane — looks    at    it.) 

Well,  I'll  be (To  Rose.)     Come  on,  young 

woman — where's  your  pal? 

Rose — I  haven't  any  pal,  I  tell  you. 

Alice — ^The  innocent  country  girl,  who  loved 
the  farm  and  didn't  care  for  the  big  city  with  all 
its  lights,  and  raved  over  women  taking  care  of 
children  and  big  families — and  here  you  ar  e 
concealing  any  woman's  husband 

Rose — ^Take  care 

Alice — I'll  bet  a  thousand  dollars  she  knows 
where  my  pearls  are. 

Rose — Pearls  ? 

Alice — I  want  her  arrested. 

Flannagan — I  can't  arrest  her  without  a 
warrant.     I  aint  seen  her  do  nothin'. 

Alice — You  can  arrest  her  as  a  suspicious 
character,  can't  you  ? 

Flannagan — What — in  her  own  home?  Not 
on  your  life! 


ACT  IV  95 

Alice — Not  with  the  evidence  of  this  cane  here? 

Flannagan — I  kin  search  the  place  fer  Saun- 
ders— if  I  find  him — I  kin  take  'em  both  with 
me — if  that'll  satisfy  you. 

Alice — I  want  her  searched. 

Flannagan— I  never  search  a  woman. 

Alice — It's  my  property  I'm  looking  for — 
I'll  do  it. 

Flannagan — Then  you'll  do  it  at  your  own 
risk.  I  won't  be  a  partner  in  it.  {To  Rose.)  Do 
you  mind  her  searching  you .? 

Rose — Is  it  necessary.? 

Flannagan — No  it  aint;  but  if  you've  got 
nothing  to  conceal,  what  do  you  care.'*  {During 
all  this  Saunders,  behind  the  screen,  is  in  evidence  at 
times.  Howard  Knozvles  is  distinctly  uneasy  at  the 
turn  affairs  have  taken  over  the  discovery  of  Rose, 
and  is  trying  to  get  away.  During  the  search  of 
Rose  by  Alice,  he  edges  toward  the  door.) 

Alice— (/j  passing  her  hands  up  and  down 
Rosens  body,  and  finds  nothing.  She  finally  at- 
tempts to  open  the  front  of  her  dress.)  You've  got 
something  in  there — what  is  \tt 

Rose — {Pushing  her  away.)     No,  no. 

Alice — {Ripping  open  her  dress,  snatches  a 
little  bag  that  hangs  there.)  Ah,  ha!  {In  spite  of 
Rosens  efforts,  she  succeeds  in  opening  bag  and 
taking  out  an  old  piece  of  paper,  looks  at  it.)     What 


96  BIRDS  OF  A  FEATHER 

did  I  tell  you!  {Reads.)  Jimmie  Saunders, 
Rivington  Street.  {Giving  it  to  Flannagan.)  I 
told  you  so. 

Flannagan — Who  wrote  this  ? 

Rose — {Sobbing.)     I  shan't  tell  you. 

Flannagan — I  guess  evidence  is  against  you, 
young  woman — you'll  have  to  come  along  with 
me. 

Rose — But  I  haven't  done  anything.  {Crying.) 
Oh,  please,  please — isn't  there  any  one  to  help  me? 

Saunders — {Quietly  stepping  from  behind  screen 
in  front  of  door.)     Sure! 

{They  all  turn  with  a  start.  Flannagan  starts  to 
draw  revolver ?i 

Saunders — None  o'  that.  Put  up  your  hands ! 
{Covering  them  all  with  revolver.) 

{Knowles  makes  an  attempt  to  go  out  of  room.) 

Saunders — Not  yet,  old  top — we'll  need  you 
before  we're  finished. 

Alice — {Excitedly.)  This  is  the  man  who  took 
my  pearls.     Officer,  arrest  him. 

Flannagan — {Sheepishly.)      I'd    like    to — but 

Saunders — But — you'd  rather  not,  eh,  Flan- 
nagan ? 

Alice — Coward ! 

Saundres — {To  Rose.)  Now,  Mrs.  Knowles, 
go  into  that  officer's  back  pocket  and  get  that 


ACT  IV  97 

revolver  he  has  there.  {She  does  so.)  hay  it 
on  the  table.  Then  reach  into  the  other  pocket 
and  get  that  pair  of  handcuffs  you'll  find.  (She 
does  so.)  Now  get  the  key  from  his  vest  pocket. 
(She  does  so.)  Place  those  handcuffs  on  Mr. 
Howard  Knowles'  wrist.  After  one  is  locked, 
lock  the  other  to  Mr.  Flannagan's  wrist.  (She 
does  so.)  Thanks — now  we  can  talk  more 
comfortably. 

Flannagan — Say — what  does  this  mean — 
you're  the  man  I  want,  not  Knowles. 

Alice — I  should  say  he  was — he  stole  my 
pearls. 

Saunders — Forget  it!  Now,  Mr.  Howard 
Knowles — this  lady  says  she  is  your  wife.  Is 
that  so.? 

Knowles — (Hesitates.)     Well — I — er 

Alice — Why  don't  you  speak  up  and  tell  him — 
the  truth. 

Saunders — Come  on — speak  up — is  she? 

Knowles — No — o ! 

Rose — (Burying  her  face  in  her  hands.)     Oh! 

Saunders — All  right.  We'll  have  to  take  your 
word  for  it  for  a  moment.  (Drawing  paper  out 
of  pocket.)     Did  you  ever  see  this  paper  before.? 

Knowles — (Startled.)     Why — I 

Rose — ^That's  the  paper  I  signed  the  night  I 
ran  away  with  him. 


98  BIRDS  OF  A  FEATHER 

Saunders— You  want  to  listen  to  all  this, 
Flannagan.  It*ll  do  you  good.  {To  Knozvles.) 
If  you  never  saw  this  paper  before — how  comes  it 
that  your  name  is  signed  to  it,  too? 

Knowles — It's  a  lie. 

Saunders — All  right — we'll  let  it  pass.  Now — 
{taking  a  second  paper  from  his  pocket)  here's  a 
marriage  certificate,  signed  by  the  Reverend  John 
Williams,  saying  you  were  married  to  Rose  Noble 
on  the  night  of  September  19th,  1907.  You  see, 
Flannagan,  he's  lied  twice — he'll  do  it  again. 

Rose — Oh,  then  he  is  my  husband! 

Saunders  —  I'm  sorry  to  say  he  is,  Mrs. 
Knowles ! 

Rose — Oh,  thank  God — thank  God! 

Alice — {To  Knowles.)  Well,  I'll  be — you  dirty 
dog!     You  lied  to  me,  too. 

Knowles — {Defiantly.)  Well,  what  of  it — 
you  can't  arrest  me  for  that! 

Saunders — You're  right — they  can't — but — 
now,  Flannagan,  get  ready  for  the  surprise  of 
your  life.  You  can  arrest  him  for  the  theft  of 
fifty  thousand  dollars,  stolen  a  little  over  three 
years  ago,  from  his  client,  George  Moser.  The 
police  have  been  looking  for  him  ever  since! 

Knowles — ^That's  a  lie,  too. 

Saunders — You've  got  a  bad  habit  of  telling 
people  they  lie. 


ACT  IV  99 

Alice — He  sure  has — I  know  he  stole  the  money 
— he  told  me  so. 

Knowles — {Angrily.)  You'd  better  keep  quiet 
— or  you'll  go  with  me  when  /  go. 

Flannagan — Oh,  then  you  admit  there's  a 
chance  of  your  going — up.** 

Knowles — I'll  admit  nothing.  I  didn't  come 
here  to  be  questioned  by  a  crook. 

Saunders — How  do  you  know  I'm  a  crook.? 

Knowles — {Sullenly.)     None  of  your  business. 

Flannagan — Say,  you're  Jimmie  Saunders! 

Saunders — Well,  well — isn't  he  the  clever 
little  boy!  Just  waking  up,  Flannagan.?  Of 
course  I'm  Jimmie  Saunders — what  of  it.? 

Flannagan — Oh,  nothing 

Knowles — See  here — I  want  that  man  ar- 
rested— he's  admitted  he's  the  man  you've  been 
looking  for. 

Flannagan — {Smiles.)  Well,  just  at  the  pres- 
ent moment,  I  don't  see  how  I'm  going  to  do  any 
arrestin'. 

Knowles — Well,  then  I'll  get  some  one  who 
will !     {Starts  for  door.) 

Saunders — ^All  right,  go  with  him,  Flannagan. 
I  don't  see  very  well  how  he's  going  to  get  away 
without  you.  {Knowles  is  trying  to  disengage 
his  manacled  hand  from  the  cuff  attached  to  his 
wrist.)     I  don't  think  I'd  go  just  yet,  Knowles. 


100  BIRDS  OF  A  FEATHER 

You'll  start  soon  enough — with  Flannagan,  too; 
so  don't  be  in  a  hurry.  Now,  Mrs.  Knowles,  take 
that  paper  you  signed  the  night  you  went  away 
with  this  man,  and  read  it,  then  tell  us  what  it 
contains. 

Rose — {Picking  up  paper  from  table.)    Why 

{Reads  it  hurriedly.)  Why — it  seems  to  be  a 
paper  giving  this  man  the  rights  to  some  property 
my  grandfather  left  me  near  Lake  George, 

Saunders — That's  just  what  it  is.  {To 
Knowles.)  You  overreached  yourself  that  time, 
didn't  you?  You  thought  all  you  would  have 
to  do  was  to  get  this  poor  child's  signature  to  that 
document — without  witnesses — and  then  sell  your 
rights  in  it — because  it  has  oil  on  it — for  a  big 
price.  You  didn't  stop  to  realize  that  the 
moment  you  married  her,  this  document  was 
absolutely  no  good  without  a  release  from  your 
luife  to  her  rights  in  it.  That's  the  reason  you 
denied  the  marriage — that's  the  reason  you  left 
her  when  she  needed  you  most.  You  know,  I've 
been  a  pretty  hard  customer  in  my  time,  but 
you — well,  you're  a  damned  scoundrel! 

Alice — Well  I  never!  {To  Rose.)  You  poor 
kid!  (7*0  Flannagan.)  I  guess  this  fellow  has 
got  us  dead  to  rights.  I'm  willing  to  go  along 
with  you — if  it's  necessary —  just  to  tell  my  story 
at  to  the  facts  in  this  thing — so  far  as  the  robbery 


ACT  IV  101 

of  the  fifty  thousand  dollars  is  concerned.  I 
don't  know  about  the  rest  of  it — but  b'lieve  me, 
friends — if  I'd  a  known 

Saunders — {To  Rose.)  Hand  me  that  cane, 
will  you,  please?  {Rose  does  so.)  Thank  you! 
{Presses  head  of  cane.,  which  comes  off — he  lays  down 
his  revolver  to  accomplish  all  this.)  Now — watch! 
{Turns  cane  upside  down  and  pearls  fall  out.) 

Alice — My  pearls! 

Saunders — {Coolly.)     Are  they? 

Alice — Of  course  they  are — and  you  know  it. 

Saunders — Where  did  you  get  them? 

Alice — Why,  I  bought  them. 

Saunders — Where  did  you  get  them — bought 
them?  Where  did  you  get  the  money  to  buy 
them  ? 

Alice — From {Looks  at  Knowles.)     Oh, 

I  see — you  think  they  aint  mine? 

Saunders — Well,  I'll  leave  it  to  your  business 
judgment.  //  they  are  yours — you'll  have  to 
acknowledge  yourself  as  a  confederate  to  this 
man.  If  you  are  willing  to  return  them  to  the 
proper  authorities,  through  a  third  party,  of 
course,  as  part  of  the  spoils  we  hope  to  recover 

{Flannagan  in  the  mean  while  has  edged  over  to 
the  table  near  the  revolver ^  taking  Knowles  with  him, 
and  finally  lets  his  hand  lay  near  the  pistol,  thinking 
himself   unobserved    by    Saunders.     He    takes    up 


102  BIRDS  OF  A  FEATHER 

the  gun  quickly,  and  points  it  at  Saunders.) 

Flannagan — ^Throw  up  your  hands. 

Saunders — (Looks  around  coolly.)  Oh,  don't 
be  foolish,  Flannagan.  I'm  not  going  to  run 
away. 

Flannagan — (Grimly.)  You  bet  you  aint. 
Not  yet.  (To  Rose.)  Now,  young  woman,  take 
that  key  and  unlock  this  cuff  from  my  wrist — and 
be  quick  about  it. 

Saunders — Don't  do  anything  of  the  kind, 
Rose.  (Taking  up  Flannagan^ s  revolver  which  Rose 
has  laid  on  table  earlier.)  That  gun  is  empty, 
Flannagan! 

Flannagan — (Looking  at  it.)  Well,  Pll  be 
damned!     (Throws  it  on  the  table,  after  looking  at 

it.) 

Saunders — We're  not  making  very  much 
progress,  are  we.^  However,  we'll  commence 
right  now.  (Takes  paper  from  pocket  and  hands 
it  to  Flannagan.)  Do  you  want  to  serve  that 
now,  Flannagan.^ 

Flannagan — (Takes  paper  with  one  hand  and 
reads  it.)  W^hy,  this  is  a  warrant  for  the  arrest  of 
Howard  Knowles  for  embezzlement! 

Saunders — It  is. 

Rose— What! 

Alice — Holy  smoke!     What  am  I  up  against.? 


ACT  IV  103 

KnoWles — Who  are  you  ? 

Saunders — Flannagan  can  tell  you,  if  he  cares 
to. 

Flannagan — Why,  this  is  James  Saunders — a 
Burns'  man! 

Saunders — That's  me. 

Alice — What  did  you  steal  my  pearls  for? 

Saunders — I  didn't.  I  took  them — away  from 
you — to  keep  you  from  getting  into  more  trouble. 
Since  you  left  this  fellow  Knowles,  you've  been 
pretty  decent — making  your  living — honestly — 
with  your  dancing.  I've  been  looking  for  Knowles 
for  a  long,  long  time — in  fact,  ever  since  I  joined 
the  Burns'  Agency — it's  my  first  case — but  I've 
got  him!  I  knew  he'd  hunt  you  up  when  he  came 
back  from  England,  so  I  had  to  get  acquainted 
with  you  first.  Now,  as  I  started  to  say  a  few 
minutes  ago,  when  Flannagan  so  rudely  inter- 
rupted me — if  you're  willing  to  turn  over  these 
pearls  to  me — as  part  of  his  spoils  from  the  fifty- 
thousand-dollar  robbery — you  can  go,  but  if  you 
still  want  to  claim  them  as  yours — I'm  afraid 
you'll  have  to  go  with  him. 

Alice — You  can  have  the  pearls!  It's  me  for 
the  narrow  path!  Good-night!  {To  Rose.)  I'm 
sorry  for  you — sorry  because  I  done  you  a  wrong 
without  knowing  it  really  was  a  wrong.  If  I'd 
a-knownthis  man  was  really  your  husband,  believe 


104  BIRDS  OF  A  FEATHER 

me,  kid,  he'd  never  have  gone  away  with  little 
Alice.  {To  Saunders.)  I  don't  understand  it  all 
yet,  but  when  you  want  me  to  testify  against 
this — this — excuse  for  a  man,  you  know  where  to 
find  me.  {Takes  up  unfinished  dress.)  I'll 
finish  this  myself.  It's  me  for  rehearsal  quick! 
{Exit.) 

Flannagan — {To  Knowles.)  Come  along,  you 
— I've  got  the  warrant — but  if  this  isn't  the  sur- 
prise of  my  life — I'm  a  liar.  {To  Saunders.)  I 
guess  it's  all  right — you've  got  the  goods  on  you 
to  prove  you're  what  you  say  you  are — but  you're 
some  class,  Mr.  Jimmie  Saunders,  Burns'  man, 
alias  Mr.  Jimmie  Saunders,  ex-convict. 

Saunders — {Smiling.)  That's  all  right,  Flan- 
nagan. There's  a  lot  you've  got  to  learn  yet — 
even  if  you  are  a  New  York  policeman.  {Hands 
him  pistol.)  Here's  your  gun.  Some  day,  when 
you  wake  up,  after  you  get  credit  for  this  arrest, 
I'll  tell  you  all  about  it. 

Knowles — Well,  I  guess  I've  run  to  the  end  of 
my  tether — but  now  I'll  admit  what  I  wouldn't 
before — this  woman  is  my  wife — and  she'll  suffer 
for  her  part  in  this  affair. 

Saunders — She  has  suffered — all  she's  going  to. 
The  minute  you're  convicted,  and  you  will  be — 
she's  free.  She's  going  back  to  her  little  home — 
the  one  you  tried  to  steal  away  from  her  with 


ACT  IV  105 


your  lies — and  she's  going  to  be  happy 

Knowles — With  her  crook  detective,  I  sup- 
pose? 

Saunders — Flannagan — you'd  better  take  him 
out  of  here  before  I  do  something  to  him  I  could 
be  arrested  for! 

Flannagan — Come  on — Mr.  Knowles.  He's 
got  the  goods  on  you — and  I'm  damned  glad  of  it! 

(Exit  with  Knowles.  There  is  a  long  pause,  in 
which  Rose  nervously  turns  up  lamp  and  cleans  up 
the  top  of  the  sewing  machine.  She  finally  looks  up 
and  says:) 

Rose — Were  you  really  in  prison,  Mr.  Saunders  ? 

Saunders — I  really  was. 

Rose — Then  how  does  it  come  that  you're — 
well — honest  now.^ 

Saunders — (Looks  at  her  for  quite  a  time  before 
answering.)  I  don't  know  just  how  I'm  going  to 
make  myself  understood,  because  if  I  say  what's 
on  my  mind,  I  might  lose  something  I've  been 
fighting  for  this  long  while.  I  can  say  this,  how- 
ever: ever  since  your  letter  reached  me — in 
prison — I  made  up  my  mind  to  behave  myself 
when  I  got  out.  When  you  saved  my  life  six  years 
ago — away  up  in  those  mountains — the  promise 
I  gave  to  you  has  haunted  me.  When  I  found 
myself  where   I   couldn't   help   you,   when   you 


106  BIRDS  OF  A  FEATHER 

needed  me,  I  made  up  my  mind  that  never  again 
would  I  be  caught  where  I  couldn't  redeem  my 
promise  to  any  one.  When  I  got  out,  I  came 
right  down  here,  and,  unknown  to  you,  saw  how 
you  were  living — and  wondered  why.  Then  I 
got  this  job  through  some  friends — who  still 
trusted  me — and — well,  the  very  first  case  that 
came  to  me  was  this  Howard  Knowles  one.  The 
further  I  got  into  it,  the  more  I  liked  it,  but  I 
hadn't  any  idea  this  man  was  your  husband  until 
I  came  across  those  papers  I  gave  you. 
(Looking  ashamed.)  I  had  to  lie  to  you 
when  I  said  I  was  going  out  of  town  again 
— without  seeing  you — that  I  didn't  know  you 
were  married.  I  knew  Alice  Winslow  would 
come  down  here  in  search  of  her  dress — for  I 
knew  the  costumer  had  given  it  to  you  to  work 
on — and  I  hoped  she  would  bring  Knowles  with 
her — ^just  as  she  did.  Don't  ask  me  how  I 
know  these  things — but  now  it's  my  business 
to  know  many  things,  and  I  can't  tell  you  how 
I  know  them. 

Rose — You've  cleared  up  many  things  that 
were  puzzling  me. 

Saunders — I'm  going  to  clear  up  lots  more. 
(Looking  around  the  room.)  You  can't  stay  here 
any  longer. 

Rose — Why  not.? 


ACT  IV  107 

Saunders — It  isn't  safe — now. 

Rose — It  has  been  safe  for  a  long,   long   time. 

Saunders — Well,  there  isn't  any  necessity  of 
your  doing  so  any  longer. 

Rose— Why? 

Saunders — You're  a  wealthy  young  woman, 
now. 

RosE--Wealthy.^ 

Saunders — That  land  of  yours  is  worth  a  whole 
lot  of  money — they've  been  looking  for  you  for  a 
long  time.     There's  lots  of  money  waiting  for  you. 

Rose — Well,  it  can  wait  a  little  while  longer. 
I've  nowhere  else  to  go  to-night. 

Saunders — You  can  go  to  some  hotel. 

Rose — {Simply.)     I  haven't  any  money. 

Saunders — I  can  give  you  all  you  want. 

Rose — {Hesitated.)  I — I — I'd  rather  stay  here 
— to-night. 

Saunders — Why  .^ 

Rose — {Looking  around  the  room.)  There  are 
memories  here  that  cannot  be  easily  forgotten.  1 
have  suffered  here — I  still  suffer — here.  I  would 
suffer  more  to-night  if  I  should  go  elsewhere. 
{Laying  her  hand  on  his  arm.)  You  have  brought 
me  the  greatest  comfort  a  man  could  possibly 
bring  to  a  woman — the  knowledge  that  in  her 
suffering  she  has  done  nothing  that  the  world 
could  really  censure.     1  am  a  wife,  even  though 


108  BIRDS  OF  A  FEATHER 

my — husband — is  one  that  no  woman  could  be 
proud  of.  {Her  voice  breaks.)  When — my — 
baby — passed  away,  I  thanked  my  God  its  little 
life  had  ended  as  it  did — because  of  what  it  would 
have  had  to  go  through  had  it  lived — the  knowl- 
edge that  some  day  it  might  learn  its  mother 
had  been  no  wife  to  any  man.  Now — now,  I 
wonder  why  God  took  it  from  me.  {She  cries 
softly.  Saunders  stands  looking  at  her  for  a 
moment^  then  he  touches  her  hand  tenderly.) 

Saunders — I'm  going  now.  To-morrow  I'll 
come  back  and  take  you  away  from  this  place  of 
tender  memories.  You'll  want  to  go  back  to  your 
little  home  in  the  mountains  that  you  left  when 
you  were  a  little  girl — a  woman,  now — because 
suffering  makes  womanhood .  Some  day,  when  you 
have  regained — your  freedom — and  your  health — 
you're  going  to  send  me  word  that  you  want  to  see 
me — and  this  time  I'll  come  at  the  first  call — but 
when  I  come,  I  can  hold  out  my  hand  to  you,  and 
you  can  take  it  without  shame — not  because  your 
heart  is  tender,  as  it  was  when  you  helped  me  six 
years  ago — but  because  you  will  realize  that  it's  a 
hand  that  you  yourself  have  made — a  clean  one — 
and  when  I  hold  it  out  to  you,  back  of  it  will  be  a 
heart  that  has  been  beating  with  hope  and — love 
for  you  for  a  long,  long  time.  {She  does  not 
reply.)     I — don't  suppose  you  can  give  me  even  a 


ACT  IV  109 

little  word  of  encouragement,  to-night?  I  guess 
your  heart  is  too  full  of  what  has  passed  to  think, 
as  I  do,  of  what  is  to  come. 

Rose — {After  a  moments  silence,  looks  at  him.) 
My  heart  is  filled — with  many  things — among 
them  gratitude.  But,  oh,  don't  ask  me  for 
something  I  couldn't  give — yet.  {Takes  his 
hand.)  I  will  go  back  to  the  mountains — alone — 
and  some  day,  when  I've  grown  back  into  a  part 
of  the  little  girl  you  first  knew,  I  will  send  for 
you — and  I  will  take  this  hand  and  I'll  kiss  it — 
just  as  I  do  now —  {she  does  so,  against  his  wishes) 
and  I  know  it  will  be  a  clean  hand — made  so, 
not  by  me,  but  by  the  best  thoughts  of  a  man 
grown — good — by  his  own  efforts.  And  now, 
good-night.  Come  for  me  to-morrow  morning — 
everything  can  be  settled  up  then. 

Saunders — {Slowly  takes  hat  from  table,  goes 
to  door — turns,  holds  out  his  hand  to  her  once  more — 
she  takes  it.)     Good-night!     {Exit.) 

{Rose  comes  down  slowly,  after  locking  the  door. 
Stands  for  a  moment  looking  around  the  room, 
goes  over  slowly  to  the  old  dressing-case,  sinks  down 
in  front  of  it,  opens  the  bottom  drawer,  takes  out  a 
bundle  wrapped  in  a  faded  silk  cover,  opens  it,  takes 
out  some  baby^s  clothes  and,  last  of  all,  a  little 
baby*s  shoe.  Her  head  sinks  forward  until  it  rests 
on  the  edge  of  the  drawer,  and  her  lips  are  pressed 


no  BIRDS  OF  A  FEATHER 

against  the  shoe.  She  softly  cries  as  she  hugs  the 
baby's  clothes  to  her  breast.  The  lamp  sputters — 
goes  out — but  she  does  not  move;  her  sobs  are  heard 
in  the  darkness.) 

CURTAIN 


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